Chapter Three: a Survey and Analysis of Music at Hindu Prayer Places

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Chapter Three:

A survey and analysis of Music at Hindu prayer places

The Hindus, being the original habitants of Pune cover 60% of Pune’s population and thus the places of prayer in Pune are chiefly Hindu temples (Mandir) and hermitages

(Mattha). Various cults in Hindu religion, such as Shaiva, Shākta, Gāṅapatya, Vaishṅav

(worship of various forms of Viśhṅu, such as Nŕsimha, Rāma, Kŕśhṅa, Vitthal, Bālāji, etc.), Datta, Nāth have a strong seat in Pune1. Besides these cults, there are many saintly persons whose shrines are an integral part of prayer places. In fact, in the span of last five decades, it is observed than these shrines have gotten more followership and that they have significantly diverse musical practices.

At almost every corner of any locality, one finds Hindu temples – it can be a simple tiny temple of Hanuman or Datta under a tree or juncture of some Chowk or alley, or a full- fledged temple complex with huge campus having multiple temples and shrines. Also, with the rapid expansion of the city and the development of new localities, one can see that the number of these temples is ever added to. The nature of the new temples and the cults depends upon the socioeconomic fabric of the community in the area.

As the main aim of this research work was to identify, document and analyze the musical practices at the places of prayer, a primary survey of more than 500 Hindu temples was done and of these, some 120 temples were selected for detailed case study.

1 D. D. Rege, 1977: pp. 3 68

The Hindu religion upholds many cults and sub sects; in the same way, the music at the places of prayer belonging to these sects is also varied in nature. The Hindu temples cover many categories of music in the prayer ritual. One finds the element of primitive music in the chanting of names of God or hymns and even in the Arati. The element of folk music is seen in the rendition of Gajar and various songs forms such as Naman,

Abhang and Gawlan. An elaborate method of singing influenced by Art music also occurs in temples of Warkari sect, Haweli Sangeet and actual Hindustani and Carnatic

Art Music performances take place in the Hindu temples.

On this background, findings from the survey of music at the places of Hindu places are diverse. Here is description of the music at these chosen Hindu places of prayer in urban

Pune.

3.1 Vaishnav:

The music in the worship at the temples of various deities in the pantheon of Vaishnav cult, such as Ram, Krishna, Nrsimha, Vishnu, Vitthal, etc. was survey and sampled. Here is a detailed account of the survey –

1) Place of prayer: Belbaug Shri Vishnu Devasthan

Religion & Cult: Hindu, Vaishnav, Address: 185-581, Laxmi Road, Near City Post, Budhawar Peth, Pune 411002, Date of establishment: 1769, Founder: Nana Phadanis, Informer: Ashok Phadnis Details of prayer music: (A) Daily prayers – Arati at 8:30 am and 8:30 pm (B) Occasional – Keertan by trainee Keertankars from Narad Mandir on every Ekadashi at 5:30 pm to 7:00 pm. (C) Annual festivals – Ram Navami and Gokulashtami. Prayers: Vedic Hymns, recitation of Ramayana and Mahabharata, an Arati of Ganesh, Devi, Shankar, and Vitthal and traditional songs of Drista, Naivedya, Vidaa, etc. Method of prayer: The Vedic hymns, Stotras and verses from Purana are recited by a priest alone. The Arati and other songs are recited by the congregation in chorus. The Keertankar performs with his troupe consisting of a Tabla player, Harmonium player and a singer supporting him on Jhanjh and vocals. Earlier there was a tradition of singing Dhrupad-Dhamar in the time slot of 7:30 am to 8:15 am and 7:30 pm to 8:15 pm. Dhrupadiyas such as Ravjibuwa Belbaugkar, Ashthekar and Khayaliyas such as Bhaskarbuwa Bakhale, Vazebuwa, etc. used to sing here. Pakhawaj players such as Shankarbhaiya Ghorpadkar and his son Vasantrao Ghorpadkar were employed on monthly salary basis. This tradition was carried on by the singers Rambhau Bhave and Prakash Palshikar till 1995. Unfortunately this practice has been discontinued now. Instruments: Arati: Jhanjh. Keertan: Tabla, Harmonium, Chipli and Jhanjh, Pitch: Undefined for Stotras. Keertan mostly in D#, Language of prayer: Sanskrit, Marathi,

Regional impact of music: Maharashtra, Influence of other music category: Hindustani Art Music, Use of amplification: Only for Keertan Architectural details: The sanctum has adjacent hall with wooden ceiling and pillars, which is open at three sides, with good acoustic set up. Number of attendants: Two priests and 5-8 devotees for Arati and 10-12 for Keertan.

2) Place of prayer: Shri Lakshmi Nrsimha Mandir

Religion & Cult: Hindu, Vaishnav, Address: 1420, Sadashiv Peth, in front of Pune Vidyarthi Gruha, Pune 411030, Date of establishment: 1774, Founder: Ganesh Bhatt Joshi and it is taken care by 11th generation - Mihir Joshi & Abhijit, Adwait Joshi, Informer: Sawani Joshi Details of prayer music: (A) Daily prayers – Puja at 4:00 am, Arati at 6:00 am, Sayam Arati at 7:00 pm. (B) Occasional – Keertan on every Saturday in month of Shravan, Keertan on two Saturdays in every month. (C) Annual festivals – Nrsimha Jayanti Utsav, Navaratri Ustav. Prayers: Nrsimha Stotra, Arati, Keertan. Method of prayer: Arati rendered by devotees in chorus. Aratis of Ganapati, Devi, Nrsimha and Prahlad are rendered every day in chorus with an accompaniment of Ghanta - no other melodic accompaniment. On the occasion of Nrsimha Jayanti Utsav, Keertan and Bhajan are organized in the evening. Hindustani Art music performances are also held during the festival. The students of Narad Mandir present Keertan on every second Saturday and in the month of Shrawan. Instruments: Ghanta for Arati and Harmonium and Tabla for Keertan, Pitch: Not specific, Language of prayer: Marathi & Sanskrit, Regional impact of music: Maharashtra, Influence of other music category: Folk and Art Music, Use of amplification: Used only for Keertan and Bhajan, not for Arati. Architectural details: Old wooden architecture with carvings, height of about 1.5 floors. Sound get resonate positively.

Number of attendants: About 25-30 for every day Arati. On Saturdays, the chorus goes up to 60 devotees.

3) Place of prayer: Laxmi Narayan Mandir

Religion & Cult: Hindu, Vaishnav, Address: 669, Raviwar Peth, Opposite Someshwar Mandir, Pune 02, Date of establishment: late 18th century Details of prayer music: (A) Daily prayers – Arati at 7:30 am and 8:00 pm (B) Occasional – No (C) Annual festivals – Ram Navami, Gokul Ashtami, Prayers: Stotra, Arati, Bhajan and Keertan Method of prayer: Stotra and Arati are recited by the priest. Bhajan is sung by chorus of ladies. Keertan performed by Keertankar with a team of 3 accompanists. Instruments: Ghanta for Arati. Ghunghru and Taal are played during the Bhajan. Harmonium, Tabla and Jhanjh are used in Keertan. Pitch: Undefined Language of prayer: Sanskrit and Marathi Regional impact of music: Marathi Influence of other music category: Hindustani Art music Use of amplification: Only during the festival Architectural details: This is a typical Peshwa period temple with beautiful carvings on the wooden ceiling, pillars and the sanctum. These architectural features have helped the temple to make it acoustically effective. Number of attendants: One priest and 4-5 for Arati, 20-25 for the Keertan.

4) Place of prayer: Nawa Vishnu Mandir

Religion & Cult: Hindu, Vaishnav, Address: 1277, Sadashiv Peth, Pune 411030, Date of establishment: 1868, Founder: Ganesh V Joshi i.e. Sarvajanik Kaka, Informer: Ajit Vishnu Ranade Details of prayer music: (A) Daily prayers – Puja without Arati. The tradition of daily Arati is discontinued. (B) Occasional – Mahila Bhajan at 3:00 pm to 5:00 pm on every Saturday and Sankashti Chaturthi. The practice of Keertan in Chaturmas has been discontinued. Kakad Arati in the month of Kartik at 5:30 am (30-40 women devotees attend this event) (C) Annual festivals – Gokulashtami Krishnajanmotsav (Keertan is performed for 7 days and on the last day, there is a finale with 'Kalyache Keertan') Prayers: Stotra, Arati, Keertan Method of prayer: Arati is recited in chorus by priest and devotees. Instruments: Arati: No instruments. Bhajan / Keertan: Tabla, Harmonium, Taal, Pitch: Undefined for Stotra and Arati. Keertan mostly in D#, Language of prayer: Marathi, Regional impact of music: Maharashtra, Influence of other music category: Hindustani Art music, Use of amplification: Yes Architectural details: The pretty old mud-brick structure with wooden ceiling and pillars makes the place acoustically effective. Number of attendants: Arati: 10-15. Bhajan /Keertan: 30-40

 Rama cult:

1) Place of prayer: Shri Ramji Sansthan Tulshibaug

Religion & Cult: Hindu, Vaishnav (Ramdasi Tradition), Address: Shukrawar Peth, Pune 411002, Date of establishment: 1761, Founder: Naro Appa Khire, Informer: Raghuraj Tulshibaugwale

Details of prayer music: (A) Daily prayers – Kakad Arati at 6:30 am to 7:00 am, Morning Arati at 9:00 am, Maha Naivedya at 12:00 pm, Sayam Arati at 7:30 pm, Shejarati at 10:00 pm. Shehnai - Chaughada at 5:30 am. (B) Occasional – On every Ekadashi, Bhajan at 10:30 am to 12:30 pm, Keertan at 5:30 pm, Pravachan at 8:00 pm. Mahashivratri (Laghu Rudra), Bhau Beej and Narak Chaturdashi (Arati at 12:00 pm). Shehnai - Chaughada at 5:30 am, 9:00 am, 3:00 pm, 7:30 pm and 10:00 pm on every Saturday, Ekadashi and during other festivals celebrated in the temple. (C) Annual festivals – Naro Appa Khire Punyatithi (6th March), Datta Jayanti, Ashadhi Ekadashi, Rama Navami, Chaitri Ekadashi, Bhagwat Saptah in every 3 years. Prayers: Stotra, Shloka, Arati, Bhajan, Keertan Method of prayer: Arati is sung in chorus, Bhajan in responsorial method, and Keertan in solo voice of Keertankar with vocal accompaniment & audience participation. Earlier there was a tradition of Dhrupad Dhamar singing in the premises on every Ekadashi. Dhrupad singers such as Shankarrao Ashtekar, Pakhawaj players Pandoba Gurav, singers from Bharat Gayan Samaj such as Bapurao Ashtekar, Bhope used to perform. Now this tradition has stopped. During the Ramanavami Utsav, there is program of Hindustani Art music for 9 days in the morning, along with Keertans and Bhajans. So, there is strong background and support to Hindustani Art music and traditional Keertan from this institute of devotion. Instruments: Arati: Ghanta, Taas and Jhanjh. Shehnai & Chaughada by Gaikwad family, Keertan & Bhajan: Harmonium, Tabla, Taal, occasionally Violin, Pitch: It varies according to performers, Language of prayer: Marathi, Sanskrit, Regional impact of music: Maharashtra, Influence of other music category: Folk and Art Music, Use of amplification: For Arati and Chaughada, no amplification is used. However, for Keertan, and Bhajan they use amplifiers. Architectural details: The wooden hall in front of the sanctum with flat sealing, height about 2 floors has open space around and it is acoustically good. Number of attendants: Daily - 25, During the Utsav - around 100

2) Place of prayer: Kate Ram Mandir

Religion & Cult: Hindu, Vaishnav (Gondhali Community), Address: 221/22, Narayan Peth, Pune 411030, Date of establishment: Circa 1760, Founder: Ram Govind Kate, Informer: Lakshmibai Kate Details of prayer music: (A) Daily prayers – Puja and Sayam Arati at 7:30 pm (B) Occasional – Ramaraksha, Shrisukta Pathan and Naam Smaran on Thursday and Saturday. (C) Annual festivals – Ram Navami festival for 9 days - Bhajan, Bhandara and Keertan on 9th day) Prayers: Stotra, Arati and Bhajan Method of prayer: The Stotras are recited by the lady priest. The Arati is recited by the chorus of priest and devotees. The Mahila Bhajan Mandal sings Bhajan in chorus. Instruments: Arati: No instruments. Keertan / Bhajan: Harmonium, Tabla, Taal, Pitch: Bhajan is mostly sung in G# and A#, Language of prayer: Marathi, Regional impact of music: Maharashtra, Influence of other music category: Folk Music and Art music, Use of amplification: No amplification for the daily prayers. Sound system is used for Keertan & Bhajan during the annual festival. Architectural details: This is a typical Peshwa period temple with a sanctum (10’ X 8’ X 15’) on heighted plinth with a frontal hall with tin roof and open space around. Number of attendants: Daily Arati: 2-3, Bhajan: 8-10. Festival: Around 50

3) Place of prayer: Rahalkar Ram Mandir

Religion & Cult: Hindu, Vaishnav, Address: Sadashiv Peth, Pune 411030, Date of establishment: 1838, Founder: Ganesh Rahalkar, Informer: Mr. Rahalkar Details of prayer music: (A) Daily prayers – Sayam Arati at 8:00 pm. (B) Occasional – No

(C) Annual festivals – Ram Navami (9 days - Abhishek, Keertan at 10:00 am to 12:00 pm before Ram Janma, Pravachan, Bhajan), Ram Rajyabhishek (Vaishakh Shuddha Saptami), Hanuman Jayanti. Prayers: Stotra, Arati, Bhajan and Keertan Method of prayer: Arati is recited only by the priest and about 5 devotees in the usual tune of the Marathi Arati. Mahila Bhajani Mandal has Bhajan classes on every Thursdays and Fridays at 5:30 pm to 6:30 pm. They sing Bhajans in traditional Marathi tunes and tunes set in Ragas. Instruments: Ghanta,Pitch: Not specific, Language of prayer: Marathi, Regional impact of music: Maharashtra, Influence of other music category: Folk Music, Use of amplification: No Architectural details: The temple has a stone carved sanctum (10' X 10' X 10') with an adjacent hall (27' X 32' X 35') constructed with cement. The original structure constructed using mud and bricks was acoustically more effective than this modern cement construction. Number of attendants: About 8-10 for Arati, 18-20 for Bhajan and more than 30 for Keertan.

4) Place of prayer: Shri Ram Mandir of Namdew Shimpi Samaj i.e. Lashkar Ram Mandir

Religion & Cult: Hindu, Vaishnav, Address: M G Road, Camp, Pune 411001, Date of establishment: 1915 March 16, Founder: Namdew Shimpi Samaj, Informer: Jagannath Vidyadhar Pathak Guruji Details of prayer music: (A) Daily prayers – Sayam Arati at 8:00 pm (B) Occasional – Kakad Arati at 6:00 am to 9:00 am during one month from Kojagiri Paurnima and Bhajans on Thursday at 7:00 pm and on Ekadashi at 7:00 pm and 10:30 pm. (C) Annual festivals – Ram Navami, Gokulashtami, Namdew Maharaja Palakhi arrives during Waari.

Prayers: Stotra, Arati, Bhajan Method of prayer: Arati is sung in a chorus of devotees, without any instrumental accompaniment. Instruments: Ghanta. During festival, Harmonium and Tabla are used for Bhajan, Pitch: Not specific, Language of prayer: Marathi, Regional impact of music: Maharashtra. Influence of other music category: Folk and Hindustani Art music, Use of amplification: During the festival Architectural details: The sanctum, with a frontal hall with decorative wooden roof and pillars, has a good acoustic setup. Number of attendants: 4-5 for Arati, 15 for Bhajan and more than 50 for festival.

5) Place of prayer: Sadawarte Ram Mandir

Religion & Cult: Hindu, Vaishnav, Address: 1922, Sadashiv Peth, Pune 411030, Date of establishment: 1948 (This temple was placed earlier at 516, Narayan Peth; but it was shifted to the current location in 1948. This is a private temple of Babasaheb Sadawarte), Founder: Babasaheb Sadawarte, Informer: Shobha Sadawarte & Jahnavi Kulkarni Details of prayer music: (A) Daily prayers – At 9:00 am (The duration is about 1 hour. No Arati in the evening.) (B) Occasional – There is Kakad Arati at 6:00 am on every Ekadashi and during Ashwin Paurnima to Kartik Paurnima (C) Annual festivals – (1) Ram Janmotsav, (2) Gondawlekar Maharaj Punyatithi (The Nirvan Adhyay is recited on this festival) Prayers: Ganapati, Ram, Devi, Maruti and Gondawlekar Maharaj Arati Method of prayer: Aratis are recited in chorus by the priest and the devotees. Arati is recited in the traditional Marathi tune, without any melodic accompaniment. Ghanta is played along with Arati recitation. Keertan performances are held during Ram Janmotsav: (1) Keertan on Ram Janma in the evening, (2) Keertan in the morning of Navami, (3) Bhajan by 'Mahila Bhajani Mandal' from 4:00 pm to 6:00 pm and Keertan from 6:00 pm to 7:30 pm on Dashami. In the night, Shejarati is conducted during all these ten days. Keertan and Bhajan are accompanied by Harmonium, Tabla, Taal, Jhanjh. 77

Instruments: Arati: Ghanta. Keertan: Harmonium, Tabla, Taal, Jhanjh, Pitch: Undefined for the daily Arati, but the Kakad Arati is sung in G#, Language of prayer: Marathi, Regional impact of music: Maharashtra, Influence of other music category: Folk Music, Use of amplification: No amplification is used for the daily prayers. Sound system is used for the Keertan & Bhajan during the annual festival. Architectural details: This is a small temple on a plinth, with about 15' X 15' feet hall and is not bad acoustically. Number of attendants: One priest and about 20 devotees for daily prayer. During the occasional prayers such as Kakad Arati, a group of about 50 ladies participate in singing the songs of Kakad Arati.

 Krishna cult:

1) Place of prayer: Khunya Muralidhar Mandir

Religion & Cult: Hindu, Vaishnav, Address: 1256, Sadashiv Peth, Pune 30, Date of establishment: 1797 May 6, Founder: Sadashiv Raghunath Gadre, Informer: Ambarish Khare Details of prayer music: (A) Daily prayers – Puja and Arati at 6:30 am. (B) Occasional – Pravachan of Puranik Parakhe Shastri at 5:00 pm to 6:00 pm and Keertan (Naradiya, Ramadasi and Warkari) at 6:30 pm to 8:00 pm in the month of Shrawan. Kakad Arati is performed from Kojagiri Paurnima to Tripuri Paurnima. During the Bhagwat Saptah, a special Arati of Bhagwat is sung by devotees. (C) Annual festivals – Gokulashtami festival Prayers: Krishna Arati. During festival - Ganapati, Devi, Shankar and Bhagwat Arati followed by Lotangan and Mantra Pushpanjali. Method of prayer: During the puja Arati is recited by the priest alone.

Instruments: Keertan / Bhajan: Tabla, Harmonium and Taal, Pitch: Undefined, Language of prayer: Marathi, Regional impact of music: Maharashtra, Influence of other music category: Art music, Use of amplification: Only for Keertan or Bhajan. Architectural details: This is a typical Peshwa period temple with a sanctum on heighted plinth and adjacent prayer hall with three open sides. It has beautifully carved wooden roof and pillars and has good acoustics. The Krishna idol was sculpted in white marble by the famous Bakhatram of Jaipur. Number of attendants: One priest and 8-10 devotees for daily prayer and more than 100 during festivals.

2) Place of prayer: Mahanubhav Shri Krishna Mandir

Religion & Cult: Hindu, Vaishnav (Mahanubhav), Address: 358, Ganesh Peth, Near Dulya Maruti Chowk, Pune 411002, Date of establishment: 1925, Founder: Punjab Nivasi Jay Krishniya P B Mahanubhav, Informer: Ashok Shastri, Dhananjay Lonarkar Details of prayer music: (A) Daily prayers – Puja at 12:30 pm, sayam arati at 8:15 pm. (duration about 30 min) (B) Occasional – (C) Annual festivals – Krishnashtami, Datta Jayanti, Chakradhar Swami Utsav Prayers: Bhagvad Geeta recitation in alternation method (1 priest and all other members), Arati in chorus. Method of prayer: Male and female devotees (Mahanubhav & Sadhwi) - about 15 members. Geeta recitation in traditional Chhand tunes, Arati in tunes set to Khamaj, Piloo, and Bhairavi. Instruments: Nagara, Ghanta, Jhanjh, Taas, Pitch: not specific, but about F - F#, Language of prayer: Marathi, Sanskrit, Regional impact of music: Marathi, Influence of other music category: Folk Music, Use of amplification: No use of amplification Architectural details: Old stone carved temple with wooden pillars. Sound resonates in good manner. Number of attendants: 15-20

3) Place of prayer: Mahanubhav Krishna Mandir

Religion & Cult: Hindu, Vaishnav (Mahanubhav), Address: Gokul Nagar, Kondhwa, Pune 411048, Date of establishment: (-), Founder: (-), Informer: Vikram Kapate Details of prayer music: (A) Daily prayers – Naamsmaran at 4:00 am to 5:00 am, Samudayik Parayan at 5:00 am to 5:30 am (Chakradhar Swami Puja awasar - Dattatrey Kawach, Stotra for the specific day and one chapter of Bhagwadgeeta), Arati at 5:30 am to 6:00 am, Sevana and Parayan at 4:00 pm, Samudayik Parayan at 7:00 pm to 7:30 pm (Chakradhar Swami Puja awasar and one Bhajan), Arati at 7:30 pm to 8:00 pm. (B) Occasional – Bhojan Arati i.e. Upahar Arati and Stawan at 12:00 pm on Amawasya and Paurnima. (C) Annual festivals – Foundation day of Temple (1st May), Gokulashtami (Pravachan or Bhajan sandhya at 9:00 pm to 12 am - orchestra type), Datta Jayanti in Margashirsh, Chakradhar Swami Jayanti festival (27th August), Govindswami Jayanti, Chakrapani Jayanti. Prayers: Dattatrey, Krishna, Chakradhar Prabhu Method of prayer: The head priest recites the Stotras and Stawan in solo voice, and the members of congregation recite the Arati in chorus. Instruments: For evening Arati: Nagara, Jhanjh, Taas, Pitch: Undefined, Language of prayer: Sanskrit, Marathi, Regional impact of music: Maharashtra, Influence of other music category: Folk Music, Use of amplification: No Architectural details: This is a small shrine with an enclosed sanctum, a prayer hall on outer side and a room for head priest at the right side. It has an effective acoustics setup. Number of attendants: One head priest and 10-12 residential devotees. During festivals the headcount is more than a hundred and fifty.

(Only three temples of Krishna are mentioned here, but more Krishna temples are mentioned in the subsection of temples of non-Marathi community.)

 Warkari cult: The Warkari cult has strong roots and ancestry in Pune. The temples of Vitthoba – Rakhumai are found in every Peth, newly developed localities and also on the outskirts of Pune. Pune has more than 500 such temples and most of them conduct weekly Bhajan, Haripaath and Keertan regularly. Here are the details of music at some representative temples of Warkari cult: -

1) Place of prayer: Pasodya Vithoba Mandir

Religion & Cult: Hindu, Vaishnav (Warkari), Address: N C Kelkar Road, Budhawar Peth, Pune 411002, Date of establishment: 14th century, Founder: It was originally a temple of Hari-Hara with a Shiv Linga and idol of Vishnu. Later it became a temple of Vitthal Rukmini. Details of prayer music: (A) Daily prayers – Daily Puja at 8:30 am with Stotra and Shloka recitations (B) Occasional – Bhajan on every Ekadashi at 6:30 am to 8:30 pm (C) Annual festivals – Kartiki Ekadashi, Ashadhi Ekadashi, Mahashivaratri, Dashahara Prayers: Stotra, Shloka, Abhang-Bhajan Method of prayer: The Stotra and Shlokas are recited by the priest alone. The Arati is recited by a chorus of the priest and the congregation. The members of Mahila Bhajani Mandal recite Bhajans in chorus voices, without any instrumental accompaniment. Mostly these Bhajans have traditional tunes, inclining either towards folk music or basic Deshi-Ragas such as Piloo, Khamaj, Manjh-Khamaj, Bhairawi. There was a long tradition of organizing Keertan in this temple, which has been discontinued in last few decades. It is reported that Sant Tukaram used to perform Keertan here occasionally. A famous folklore narrates an interesting incidence. During one such incidence when Shivaji Maharaj attended Sant Tukaram’s Keertan here, one Mughal chieftain attacked the temple to capture Shivaji, but this was in vain as the

magical effect made every person attending the Keertan appears like Shivaji and the chieftain was helpless. Instruments: Only Ghanta during Puja. Ghunghru and Jhanjh in Bhajan, Pitch: Undefined, Language of prayer: Marathi, Regional impact of music: Marathi, Influence of other music category: Folk music, Use of amplification: No Architectural details: This is a cozy temple with a prayer hall (12’ X 28’ X 20’) attached to the sanctum. The old stone-brick structure is acoustically effective. Number of attendants: 8-10 for Arati and 12-15 for Bhajan

2) Place of prayer: Shri Vitthal Mandir Dewasthan

Religion & Cult: Hindu, Vaishnav (Warkari), Address: 52, Raviwar Peth, Kasturi Chowk, Pune 411002, Date of establishment: Circa 1620, Informer: Kamal Tarade Details of prayer music: (A) Daily prayers – Arati at 8:00 am and 7:30 pm (B) Occasional – Bhajan on every Ekadashi at 4:00 pm to 6:00 pm. Kakad Arati at 5:45 am, Bhajan at 6:00 am to 8:00 am in the month of Kartik. (C) Annual festivals – Kartiki Ekadashi, Ashadhi Ekadashi, Krishna Ashtami, Chaitra Padwa, Ramanavami, Hanuman Jayanti, Utiche Bhajan, Akshayya Tritiya, Kojagiri Paurnima, Datta Jayanti, Mahashivratri, Tukaram beej, Tripurari Paurnima Prayers: Shloka, Haripaath, Abhang, several song forms in Kakad Arati and Bhajan, Keertan. Method of prayer: Responsorial and chorus Instruments: Ghanta, Warkari Veena, Pakhawaj, Harmonium, Taal, Chipli, Pitch: G#, C# and D#, Language of prayer: Marathi, Regional impact of music: Marathi, Influence of other music category: Folk and Hindustani Art music, Use of amplification: Yes Architectural details: This is an old Shivaji period mud-brick structure with a nice acoustics. The sanctum has a prayer hall with decorative wooden ceiling and pillar. Number of attendants: 15-20 for Arati and 25-30 for Bhajan. The count goes up to a hundred during Kakad Arati and more than 400 during festival.

3) Place of prayer: Shri Vitthal Rukhmini Mandir

Religion & Cult: Hindu, Vaishnav (Warkari), Address: Vitthalwadi, Sinhagad Road, Pune 411051, Date of establishment: 1765, Founder: SambhaBaba Gosawi, Informer: Nalini Gosawi Details of prayer music: (A) Daily prayers – Puja and Arati at 5:30 am to 6:30 am. Shej Arati at 8:00 pm (B) Occasional – (1) Haripath at 3:30 pm, 6:30 pm and 7:30 pm, (2) Kakad Arati at 4:30 am to 6:00 am on every Ekadashi, (3) Nagara, Chaughada on Ashadhi Ekadashi (C) Annual festivals – (1) Keertan at 4:30 pm to 6:00 pm on Ekadashi in the months of Margashirsh, Shravan and Chaitra, (2) SambhaBaba Punyatithi, (3) Gokulashtami, (4) Ramnavami (Warkari Veena Pahara), (5) Dev ji Buwa Palakhi in the month of Kartik. Prayers: Shloka, Haripaath, Abhang, several song forms in Kakad Arati and Bhajan, Keertan. Method of prayer: Responsorial and chorus Instruments: Ghanta, Warkari Veena, Pakhawaj, Harmonium, Taal, Chipli, Nagara Chaughada, Pitch: A, C# and D#, Language of prayer: Marathi, Regional impact of music: Marathi, Influence of other music category: Folk and Hindustani Art music, Use of amplification: Yes Architectural details: This is stoned carved temple with good acoustic setup. The sanctum has a large frontal hall and in addition to this there are huge corridors between the courtyard and the outer wall where the congregation performs Bhajan and Keertan. Number of attendants: 8-10 for Arati and 25-30 for Bhajan. The count goes to 70-80 during Kakad Arati and more than 500 during festival.

4) Place of prayer: Limbaraj Maharaj Vitthal Mandir i.e. Zanjale Vitthal Mandir

Religion & Cult: Hindu, Vaishnav (Warkari), Address: 3, Bajirao Road, Near Tulashibaug, Budhawar Peth, Pune 411002, Date of establishment: 1808, Founder: Shri Limbaraj Maharaj Dewasthan, Informer: Madhav Limaye

Details of prayer music: (A) Daily prayers – Arati at 8:00 am and 8:00 pm (B) Occasional – There is Bhajan on every Saturday at 9:30 pm, Ekadashi and 'Utiche Bhajan' (Bhajan while applying sandal paste to the idol of God) in the month of Chaitra. (C) Annual festivals – Kartiki Ekadashi, Ashadhi Ekadashi, Vaikunth Ekadashi Prayers: Shloka, Arati, Abhang, Haripaath Method of prayer: Shloka, Arati are sung in chorus voice. Haripaath and Bhajan is recited in antiphonal method. The Bhajan on Saturday night has an elaborate repertoire and precise sequence and it goes for more than 3 hours. This tradition of Saturday Bhajan was laid down by late Krishnarao Mehandale, a Bhajan singer trained in Hindustani Art Music in early 20th century. Many classical vocalists such Master Krishnarao, Narharbuwa Patankar, Heerabai Barodekar, and Vinayakbuwa Patwardhan and Natya Sangeet luminaries such as Bal Gandharva, Jaymala Shiledar, and Keerti Shiledar used to attend this and also sing few Abhangs here. This tradition of connecting Art musicians with Bhajan is still continued by Veenekari Madhav Limaye and many musicians such as Anand Bhate, Ashwini Tilak, Atul Khandekar, etc. offer Bhajan Sewa here, even today. The Bhajans are set to Ghan-Ragas such as Bhimpalasi, Kalyan, Bihag, Tilak Kamod, Bageshri, Jaijaiwanti, Malkauns, Sohani, Ahir Bhairaw, Sarang, Puriya Dhanashri, etc. and also in Mishra or Jod-Ragas such as Basant Bahar, Bageshri Bahar, Jogkauns, Nand Basant, etc. Of course, Deshi Ragas are used such Gara, Piloo, Khamaj, Pahadi, Bhairawi. Instruments: Arati: Ghanta. Bhajan: Warkari Veena, Taal, Chipali, Pakhawaj, Tabla, Harmonium, Pitch: D#, F and A#, Language of prayer: Marathi, Regional impact of music: Maharashtra, Influence of other music category: Folk and Art Music, Use of amplification: Yes (For Bhajan) Architectural details: The sanctum has a small Pradakshina Path. The prayer hall (36’ X 60’ X 45’) has a gallery, which is a common feature in churches and synagogues, but rarely seen in Hindu temples. This temple, situated at the overcrowded junction of Tulashibaug, Wishrambaug Wada and Lakshmi road, has stone built walls and wooden pillars which provide it a good acoustic setup.

Number of attendants: Around 20-30 for Saturday Bhajan and more than 60 for 'Utiche Bhajan.

5) Place of prayer: Upashi Vithoba Mandir (Tākpițhyā Vithoba Mandir)

Religion & Cult: Hindu, Vaishnav (Warkari), Address: 1327, Sadashiv Peth, Near Bharat Natya Mandir, Pune 411030, Date of establishment: 1817, Founder: Girame Saraf, Informer: Sagar Sathe Details of prayer music: (A) Daily prayers – Arati at 8:00 am, Sayam Arati at 7:00 pm and Shej at 9:00 pm (B) Occasional – (1) Keertan at 6:30 pm to 8:30 pm on every Sankashti Chaturthi, (2) Kakad Arati at 6:00 am from Kojagiri Paurnima to Kartik Paurnima, (3) Shehnai- Chaughada (Nagarkar Sanaiwale) on Ashadhi Ekadashi at 9:30 am, followed by Band at 10:00 am. (C) Annual festivals – Ashadhi Ekadashi (festival from Dashami to Paurnima) in which there is daily Keertan from 6:30 pm to 8:30 pm, along with the Hindustani Art music performances from 9:30 pm to 11:00 pm. Prayers: Stotra, Shloka, Arati (Ganesh, Shankar, Devi, Pandurang and Datta), Haripaath, Abhang, several song forms in Kakad Arati and Bhajan. Method of prayer: Arati recitation in chorus. Keertan uses solo, responsorial and chorus method. This temple is known as a patronage centre for Hindustani Art music as there is a tradition of more than 80 years to invite Khayal singers and instrumentalists to present their art in the annual festival. Many stalwarts and upcoming musicians have performed in this temple. Instruments: Arati: Ghanta. Kakad Arati: Taal, Ghunghru. Keertan: Tabla, Harmonium, Jhanjh, Chipli. Art music concerts: Harmonium, Tabla, Pakhawaj, Violin, Sarangi, Pitch: Undefined, Language of prayer: Sanskrit, Marathi, Regional impact of music: Maharashtra, Influence of other music category: Folk music and Art Music, Use of amplification: Arati: Only for Keertan

Architectural details: A cozy temple with a sanctum, a Pradakshina Path and a small prayer hall (30’ X 18’ X 18’) which has nice acoustics. Number of attendants: Around 5-10 for daily Arati, more than 50 for Keertan and Art music concerts.

6) Place of prayer: Niwadunga Vithoba Dewasthan Sansthan

Religion & Cult: Hindu, Vaishnav (Warkari), Address: 572, New Nana Peth, Rasta Peth, Pune 411002, Date of establishment: 1830, Founder: Gujrathi Seth Kanhaiya Ji, Informer: Anant Padhye Details of prayer music: (A) Daily prayers – Puja at 6:30 am and Sayam Arati at 7:30 pm. (B) Occasional – Bhajan on every Thursday and Ekadashi at 9:00 pm to 11:00 pm. Kakad Arati at 5:00 am, Pravachan at 6:15 pm to 7:30 pm, Bhajan in the month of Kartik. Warkari Keertan is performed occasionally. (C) Annual festivals – Kartiki Ekadashi, Ashadhi Ekadashi, Krishna Ashtami. During the journey of ‘Wari’ to Pandharpur and back, the Palkhi of Tukaram take a halt every year. In this halt, Chakri Bhajan is performed. Prayers: Stotra, Shloka, Haripaath, Abhang, Gawlan and other several song forms in Kakad Arati and Bhajan, Keertan. Method of prayer: Antiphonal. The tradition of singing Warkari Bhajan and Keertan is deeply rooted here. The Bhajans are based on Ragas and are sung with elaborative elements such as Alap, Bol-Alap, Taan. The tunes of Abhang are based on Ragas such as Bhoop, Kalyan, Bhimpalasi, Hameer, Tilak Kamod, Malkauns, Ahir Bhairaw, Bibhas, Sarang, Khamaj, Kafi, Piloo, Bhairawi, etc. Instruments: Arati: Ghanta. Bhajan: Warkari Veena, Taal, Chipali, Pakhawaj, Tabla, Harmonium, Pitch: Mostly D# and G#, Language of prayer: Marathi, occasionally some ladies sing Gujrathi Bhajans too, Regional impact of music: Marathi, Influence of other music category: Folk music and Hindustani Art music, Use of amplification: Yes

Architectural details: This is a huge stone-brick structure with a high pinnacle, a sanctum and a frontal hall with a beautiful wooden ceiling and decorative pillars. The acoustically good hall is surrounded by a Pradakshina Path. Number of attendants: Around 10-12 for daily Arati, 20-30 for occasional Bhajan, more than 50 for Kakad Arati Bhajan and more than 1000 during Wari.

7) Place of prayer: Khanduji Baba Vitthal Mandir

Religion & Cult: Hindu, Vaishnav (Warkari), Address: 731/732, Pulachi Wadi, Shivaji Nagar, Pune 411004, Date of establishment: Early 19th century, Founder: Khanduji Baba Palav Details of prayer music: (A) Daily prayers – Haripath at 7:00 pm. (B) Occasional – Kakad Arati at 5.30 am for a month from Narali Paurnima onwards. (C) Annual festivals – Kartiki Ekadashi, Ashadhi Ekadashi, Krishna Ashtami & Waari. Prayers: Shloka, Arati, Haripaath, Abhang and Bhajan, Keertan. Method of prayer: Responsorial and chorus Instruments: Ghanta, Warkari Veena, Pakhawaj, Harmonium, Taal, Chipli, Pitch: G#, C# and D#, Language of prayer: Marathi, Regional impact of music: Marathi, Influence of other music category: Folk, Use of amplification: Yes Architectural details: The large campus of this temple on the banks of the Mula Mutha river has peaceful atmosphere and good acoustics. Number of attendants: 8-10 for Arati and 15-20 for Bhajan. The count goes to 50 during Kakad Arati and more than 200 during festival.

8) Place of prayer: Shri Vitthal Mandir

Religion & Cult: Hindu, Vaishnav (Warkari), Address: Navi Peth, Maratha Mandal, Pune 411030, Date of establishment: Late 19th century Details of prayer music: (A) Daily prayers – Arati at &:30 am and 7:30 pm

(B) Occasional – Bhajan at 7:00 pm to 8:30 pm on every Thursday, Saturday and Ekadashi. (C) Annual festivals – (1) Chaitra: Padwa, Ramnavami, Hanuman jayanti, Utiche bhajan. (2) Vaishakh: Akshayya Tritiya. (3) Jyeshtha & Ashadh: Dnyaneshwar & Tukaram Palakhi. (4) Shrawan: Gokulashtami (Keertan Saptah - Warkari Veena pahara). (5) Ashwin: Ghatsthapana, Dasara (Bhajani sahitya Pujan). (6) Kartik: Kakad Arati, Kojagiri Paurnima. (7) Margshirsh: Datta jayanti, Sopankaka dindi. (8) Paush: Bhajani mandal tilgul samarambh. (9)Magh: Vasant panchami, Mahashivaratri. (10) Phalgun: Tukaram beej, Holi. (11) Adhik maas: Bhajan Keertan haripath, Veena pahara. (12) 'Kalyache Keertan' on Tripuri Paurnima at 10:00 am to 12:00 pm. followed by Mahaprasad. Prayers: Shloka, Haripaath, Abhang, several song forms in Kakad Arati and Bhajan, Keertan. Method of prayer: Responsorial and chorus Instruments: Ghanta, Warkari Veena, Pakhawaj, Harmonium, Taal, Chipli, Pitch: C#, D# and A#, Language of prayer: Marathi, Regional impact of music: Marathi, Influence of other music category: Folk music, Use of amplification: Yes Architectural details: The mud-brick construction and wooden roof of the temple gives it a nice acoustic effect. Number of attendants: 15-20 for Arati and 20-25 for Bhajan. The count goes up to 80- 100 during Kakad Arati and festivals.

9) Place of prayer: Vitthal Rukmini Mandir + Palav baba Samadhi

Religion & Cult: Hindu, Vaishnav (Warkari), Address: Survey no 50, Karve Nagar, Pune 411052, Date of establishment: 1900, Founder: Mahadu Phengse, Informer: Pushpalata Rawal, Krishnabai Pansare, Shyamal Borkar Details of prayer music: (A) Daily prayers – Arati at 6:30 am, Bhajan at 4:30 pm to 6:30 pm, Haripaath at 8:00 pm to 9:00 pm. (B) Occasional – Kakad Arati at 5:00 am to 7:30 am in the month of Kartik.

(C) Annual festivals – Chaitra Padwa, Ramanavami, Hanuman Jayanti, Utiche Bhajan, Akshayya Tritiya, Palav Baba Samadhi Dina, Dnyaneshwar & Tukaram Palakhi, Gokulashtami, Kartik Kakad Arati, Kojagiri Paurnima, Mahashivratri, Tukaram beej. Prayers: Shloka, Haripaath, Abhang, several song forms in Kakad Arati and Bhajan, Keertan. Method of prayer: Solo, chorus and responsorial Instruments: Ghanta, Warkari Veena, Pakhawaj, Harmonium, Taal, Chipli, and Ghunghru, Pitch: G#, C# and D#, A#, Language of prayer: Marathi, Regional impact of music: Marathi, Influence of other music category: Folk and Hindustani Art music, Use of amplification: Yes Architectural details: There are two huge prayer halls, one in the Vitthal Mandir and another at the complex of Palav Baba Samadhi. Both these halls have effective acoustic setup. Number of attendants: 15-20 for Arati and 40-50 for Bhajan. The count goes to 150 during Kakad Arati and more than 300 during festival.

10) Place of prayer: Tukaram Paduka Vitthal Mandir

Religion & Cult: Hindu, Vaishnav (Warkari), Address: Tukaram Paduka Chowk, F C Road, Shivaji Nagar, Pune, Date of establishment: Early 20th century, Informer: Prabhakar Pandav Details of prayer music: (A) Daily prayers – Arati at 7:00 pm. (B) Occasional – Haripaath on every Saturday at 6:00 pm followed by Keertan from 7:00 pm to 9:00 pm on every Vadya Dwitiya (Beej) and Ekadashi. (C) Annual festivals – Chaitra Padwa, Ramanavami, Hanuman Jayanti, Utiche Bhajan, Akshayya Tritiya, Dnyaneshwar & Tukaram Palakhi, Gokulashtami (Keertan Saptah - Warkari Veena pahara), Dasara (Bhajani sahitya Pujan), Kartik Kakad Arati, Kojagiri Paurnima, Datta Jayanti, Mahashivratri, Tripurari Paurnima, festival for 7 days on Tukaram beej. Prayers: Haripaath, Abhang, and Bhajan, Keertan.

Method of prayer: Solo, responsorial and chorus. A school of Warkari Keertan called ‘Warkari Shikshan Sanstha’ used to conduct classes to train children and the youth in Warkari Keertan and Bhajan in the temple premises. This institution has now shifted to Alandi. Instruments: Pakhawaj, Tabla, Harmonium, Taal, Warkari Veena, Ghunghru, Pitch: D#, A#, Language of prayer: Marathi, Regional impact of music: Maharashtra, Influence of other music category: Folk Music, Use of amplification: Only during festival. Architectural details: This is a very small shrine (12’ X 15’ X 15’) with a basement. The acoustics is not much effective. The Paduka-s are more than a 100 years old, but the Mandir trust was formed only in 1978s by Limbraj Maharaj & Prataprao Shirole. The library & Keertan Vidyalay was functional from 1980. Number of attendants: Around 10 devotees daily, more than 200 during the festival.

11) Place of prayer: Shri Vitthal-Rukmini Mandir Dewasthan

Religion & Cult: Hindu, Vaishnav (Warkari), Address: Narvir Tanaji Wadi, Shivaji nagar, Pune 411005, Date of establishment: 1930, Founder: Vishnu Bhosale Patil, Informer: Shrikant Patkar Details of prayer music: (A) Daily prayers – Arati and 6:30 am and 7:00 pm (B) Occasional – Kakad Arati and Keertan in the month of Kartik and on every Ekadashi. (C) Annual festivals – Chaitra Padwa, Utiche Bhajan, Dnyaneshwar & Tukaram Palakhi, Gokulashtami, Kartik Kakad Arati, Kojagiri Paurnima, Mahashivratri, Tukaram beej, Prayers: Haripaath, Abhang, several song forms in Bhajan and Keertan. Method of prayer: solo, responsorial and chorus Instruments: Ghanta, Warkari Veena, Pakhawaj, Harmonium, Taal, Chipli, Pitch: C#, D# and G#, Language of prayer: Marathi, Regional impact of music: Marathi, Influence of other music category: Folk and Hindustani Art music, Use of amplification: Yes

Architectural details: It is a typical Warkari Mandir with stone walls and sanctum surrounded with Pradakshina Path and a frontal prayer hall. It has a natuarally effective acoustic setup. Number of attendants: 15-20 for daily Arati and 20-25 for Bhajan.

12) Place of prayer: Shri Vitthal Rukmini Mandir

Religion & Cult: Hindu, Vaishnav (Warkari), Address: Gramdaivat Mhasoba Chowk, Dattawadi, Pune 411030, Date of establishment: 1975, Founder: Sadhu Amruta Mohol, Details of prayer music: (A) Daily prayers – Arati at 7:30 am and Bhajan from 6:30 pm to 9:00 pm (B) Occasional – Kakad Arati in the month of Kartika at 6:00 am. On every Saturday and Ekadashi, there is Bhajan from 11:00 am to 1:00 pm, followed by Prasad-Bhojan. (C) Annual festivals – Keertan Saptah during months of Ashadh & Kartik. Ashadhi Ekadashi, Kartiki Ekadashi, Ram Navami, Hanuman Jayanti, Utiche Bhajan, Akshayya Tritiya, Gokulashtami (Keertan Saptah - Warkari Veena pahara), Kojagiri Paurnima, Mahashivratri, Tukaram beej. Prayers: Arati, Haripaath, Abhang, several song forms in Bhajan and Keertan. Method of prayer: Arati recitation in chorus. Bhajan is performed by a group of male, female devotees, in responsorial method. Instruments: Harmonium, Warkari Veena, Pakhawaj, Taal, Chipli, Pitch: D#, F & A#, Language of prayer: Marathi, Regional impact of music: Maharashtra, Influence of other music category: Folk Music, Use of amplification: Yes Architectural details: Acoustically bad architecture. Number of attendants: about 12-15 for daily Bhajan and more than 70 for festival.

From the above mentioned survey, it is clear that the Vaishnav temples use music in all aspects of their worship, such as the daily Puja ritual, the preacher’s discourse and during the festivals celebrated in the temples’ space. There is a definite and codified system of music specifically used at Vaishnav places of prayer.

3.2 Shaiva:

The deity of destruction, Lord Shiva, who is also considered as the originator of the cosmic sound, plays the Damru (a percussion instrument) from which the sound of Om is supposed to have originated. Hence, the Shaiva doctrine believes in Naad Sadhana, i.e. worship of sound. However, seldom is it seen to undertake music as a means of worship in Shaiva temples, unlike the Vaishnav temples. There are more than 200 Shaiva temples in Pune city, out of which some 40 were surveyed, but 10 musically relevant temples are mentioned here –

1) Place of prayer: Omkareshwar Mandir

Religion & Cult: Hindu, Shaiva, Address: 233, Shaniwar Peth, near Shinde Bridge, Pune 411030, Date of establishment: 1938 October 26, Founder: Shivrambhat Chitrav, Informer: Gurav family Details of prayer music: (A) Daily prayers – Sayam Arati at 8:00 pm (B) Occasional – Nagara Wadan at 7:30 pm on every Saturday. (C) Annual festivals – Mandir Vardhapan Din (Ashadh Shuddha Trayodashi) - 4 days festival full of cultural programs, Tripuri Pournima (Kartik Pournima) - Shankar's Tandav Dance and Tripurasur dahan, Chimajiappa Peshwe Punyatithi, Mahashivaratri. Keertan, Bhajan and Hindustani Art music concerts are organized during festivals. Prayers: Stotra, Arati, occasionally Bhajan. Arati in the traditional Marathi tunes of Arati Chhand. Method of prayer: Arati in chorus voice of devotees and priest Instruments: Ghanta, Shankha, Pitch: Undefined, Language of prayer: Sanskrit and Marathi, Regional impact of music: Marathi, Influence of other music category: Influence of Hindustani Art music on Bhajan and Keertan, Use of amplification: Only during festivals

Architectural details: This is a big temple complex with a main Shiva temple, a frontal courtyard with the Nandi Mandap and a Nagarakhana (the place to play Nagara – Shehnai - Chaughada), and the shrines of Datta, Vishnu, Ashtabhuja Bhawani, Ganesh, Maruti, Shani, Kaalabhairava and Surya. There are Samadhi-s of Chimaji Appa Peshwa, his wife, and yogi Kaalbuwa too. The main Shiva Mandir has a Garbha Griha, with a huge Shivalinga, and a Pradakshina Path with nine domed ceiling, where sound gets echoed with a haunting effect. Number of attendants: Around 15 devotees daily and more than 200 during festivals.

2) Place of prayer: Amruteshwar Mandir

Religion & Cult: Hindu, Shaiva, Address: Erandawana Gaonthan, Opp. Hotel Sweekar, Pune 411004, Date of establishment: Circa late 18th century Details of prayer music: (A) Daily prayers – Rudra Abhishek is done with recitation of Sanskrit Stotras at 7:30 am to 8:30 am and 5:00 pm to 6:00 pm. Shej Arati is recited at 8:00 pm. (B) Occasional – Bhajan at 9:30 pm. on every Saturday (C) Annual festivals – Shravani Somawar, Mahashivaratri (Rudra Abhishek at 6:30 am to 7:30 am and 4:00 pm to 5:00 pm) Prayers: Stotra and Shej Arati, occasionally Warkari Bhajan Method of prayer: Prayers are recited by priest alone. The Saturday Bhajans are performed by members of nearby Bhajani Mandal. Instruments: No instruments are played during Pooja and Arati. Pakhawaj, Taal and Harmonium are used in Bhajan, Pitch: Undefined pitch for Stotra. Bhajan usually in D# and G#, Language of prayer: Sanskrit and Marathi, Regional impact of music: Marathi, Influence of other music category: Folk music, Use of amplification: Only for Bhajan Architectural details: The temple has a small Garbha Griha (6’ X 6’ X 10’) and an open air hall with wooden carvings (25’ X 15’ X 20’) Number of attendants: Around 10-12 for Bhajan

3) Place of prayer: Pataleshwar (Panchaleshwar) Mandir

Religion & Cult: Hindu, Shaiva, Address: Jangali Maharaj Road, Revenue Colony, Shivaji Nagar, Pune 411005, Date of establishment: 8th century AD, Founder: Rashtrakoot dynasty Details of prayer music: (A) Daily prayers – Arati at 6:00 am and 7:30 pm (B) Occasional – - (C) Annual festivals – Mahashivaratri Prayers: Stotra and Arati Method of prayer: Only priest recites the Stotras and a group of devotees sing the Arati in chorus voice. Instruments: Ghanta, Shankha, Pitch: Undefined, Language of prayer: Sanskrit and Marathi, Regional impact of music: Marathi, Influence of other music category: Primitive music, Use of amplification: No Architectural details: The temple has ancient rock cut cave architecture with three Garbha Griha and three porches. There is a huge Nandi Mandap in the courtyard. The stone architecture gives a reverbing sound effect in this temple. Number of attendants: 10-15

4) Place of prayer: Amruteshwar Mandir

Religion & Cult: Hindu, Shaiva, Address: 67, Chandrashekhar Agashe Path, Apte Ghat, Shaniwar Peth, Pune 411030, Date of establishment: 1760, Founder: Bhiubai Baramatikar Details of prayer music: (A) Daily prayers – Only morning Puja at 7:30 am (B) Occasional – No (C) Annual festivals – Mahashivaratri Prayers: Stotra

Method of prayer: Only Stotras are recited by the priest Instruments: No instruments are used, Pitch: Undefined, Language of prayer: Sanskrit, Regional impact of music: (-), Influence of other music category: Primitive music, Use of amplification: No Architectural details: This is an old rock cut temple with a typical Peshwa period pinnacle. The small Garbha Griha is underground (8’ X 8’ X 10’) with an attached hall (12’ X 15’ X 20’). Number of attendants: Around 4-5

5) Place of prayer: Shri Chaitanya Bholeshwar Mandir

Religion & Cult: Hindu, Shaiva, Address: 377, Bhawani Peth, Pune 411042, Date of establishment: Circa 1660 Details of prayer music: (A) Daily prayers – Arati at 8:30 am and 8:30 pm (B) Occasional – The Bhajan on Saturday night has now been discontinued. (C) Annual festivals – Mahashivratri Prayers: Mahadev Arati - Jai Shiv Omkara Method of prayer: Only priest recites the Arati Instruments: Ghanta for Arati. The Bhajan was accompanied by Ektari, Chimta and Manjira, Pitch: Undefined, Language of prayer: Hindi, Regional impact of music: Gujrathi, Influence of other music category: Folk music, Use of amplification: No Architectural details: Small temple with mud walls and wooden pillars (10’X12’X12’) Number of attendants: Around 10-15

6) Place of prayer: Shri Someshwar Mandir

Religion & Cult: Hindu, Shaiva, Address: 1162, Raviwar Peth, Pune 411002, Date of establishment: 1830, Founder: Narayanrao Natu, Informer: Prashant Ladkat Details of prayer music:

(A) Daily prayers – Arati at 7:00 am and 8:30 pm (B) Occasional – Bhajan of female singers, Pravachan at 7:00 pm to 10:00 pm for 15 days during Shravani Somawar and Mahashivratri. (C) Annual festivals – Mahashivratri, Chabina and Bhandara on the 4th Monday of Shravan, Ganga Dashahara festival from Jyeshtha Pratipada to Paurnima (Keertan during these 15 days), Tripuri Pournima, Navaratri, Hanuman Jayanti, and Kalbhairav Jayanti. Prayers: Sanskrit Stotras, and Marathi Aratis of Ganesh, Shankar, Devi, Hanuman and Kalbhairaw. Method of prayer: Stotras recited by priest alone. Arati recitation is by all devotees. Instruments: Arati: Ghanta, Shankha Taas and Nagara for Arati. Tabla, Taal and Harmonium are used in Keertan. Earlier the Shehnai and Chaughada were played before morning and evening Arati, but this tradition is not upheld anymore, Pitch: Undefined, Language of prayer: Marathi and Sanskrit, Regional impact of music: Marathi, Influence of other music category: Folk Music, Use of amplification: Arati: No. Keertan: Yes Architectural details: Open air hall with wooden pillars and roof (20’ X 30’ X 18’) Number of attendants: About 12-15 for daily Arati, more than 100 during the festivals.

7) Place of prayer: Shri Aranyeshwar Mandir

Religion & Cult: Hindu, Shaiva - Warkari, Address: 82/2 C, Parvati Peth, Satara Road, Pune 411009, Date of establishment: Circa 1900, Founder: Deshpande Inamdar Details of prayer music: (A) Daily prayers – Arati at 7:00 am and 6:30 pm (B) Occasional – Bhajan at 4:00 pm to 6:00 pm or 8:00 pm to 10:00 pm during Datta Jayanti Utsav and Gondawalekar Maharaj Punyatithi Utsav. (C) Annual festivals – Datta Jayanti, Gondawalekar Maharaj Punyatithi, Mahashivaratri. Prayers: Arati of Ganapati, Shankar and Pandurang Method of prayer: Arati recited by all the devotees together.

Instruments: Ghanta, Shankha and Taas, Pitch: Undefined, Language of prayer: Marathi, Regional impact of music: Marathi, Influence of other music category: Folk music, Use of amplification: No Architectural details: An open air hall with wooden roof and pillars (22’ X 25’ X 14’) Number of attendants: More than 20 per day.

8) Place of prayer: Markandeya Mandir

Religion & Cult: Hindu, Shaiva, Address: Rameshwar Chowk, Shivaji Road, Mandai, Shukrawar Peth, Pune 411002, Date of establishment: 1899, Founder: Vyankatesh Vidwans, Informer: Virendra Kunte Pujari Details of prayer music: (A) Daily prayers – Puja and Arati at 8:00 am and 7:00 pm (B) Occasional – Bhajan during annual festivals. (C) Annual festivals – Vaishakh Shuddha Panchami (day of establishment), Balaji Festival, month of Shravan (Laghurudra recitations), Ganesh Chaturthi, Deepotsav in month of Kartik, three-day festival on Mahashivratri Prayers: Sanskrit Stotras and Marathi Arati Method of prayer: Only priest recites Stotra and Arati Instruments: Only Ghanta, Pitch: Undefined, Language of prayer: Sanskrit and Marathi, Regional impact of music: Marathi, Influence of other music category: Primitive music, Use of amplification: No Architectural details: Garbha Griha on a plinth of stone (6’ X 6’ X 10) and hall with stone walls and pillars (15’ X 20’ X 18’) Number of attendants: Approx. 5 per day

9) Place of prayer: Nageshwar Mandir

Religion & Cult: Hindu, Shaiva, Address: Somawar Peth, Near Apollo Talkies, Pune 411011, Date of establishment: Circa 13th century, Founder: Renovated by Aba Shelukar in late Peshwa period and reconstructed by PMC in 2016 Details of prayer music: (A) Daily prayers – Arati at 7:00 pm (B) Occasional – Warkari Bhajan by Nageshwar Bhajani Mandal (only male singers) at 7:00 pm to 9:00 pm on every Ekadashi. (C) Annual festivals – Mahashivratri Prayers: Sanskrit Stotra, Marathi Arati Method of prayer: Sanskrit Stotra recitation by priest and Arati by all devotees Instruments: Arati: Ghanta, Shankha. Bhajan: Harmonium, Taal, Pakhawaj, Pitch: Undefined for Arati. D# and G# for Bhajan, Language of prayer: Marathi and Sanskrit, Regional impact of music: Marathi, Influence of other music category: Folk Music, Use of amplification: No Architectural details: Stone cut, underground Garbha Griha (12’ X 15’ X 12’) with open air hall with wooden roof and pillars (20’ X 30’ X 30’) Number of attendants: Daily 15-20

10) Place of prayer: KalBhairaw Mandir

Religion & Cult: Hindu, Shaiva, Address: Erandavana, Near Swarateerth Sudhir Phadke Chowk, Pune 411004, Date of establishment: Circa 18th century, Informer: Nana Hindavale Details of prayer music: (A) Daily prayers – Arati at 6:00 am (B) Occasional – Ektari Bhajan on Saturday 10:00 pm. (C) Annual festivals – Vaishakh Ashtami, i.e. Kaalashtami, Mahashivaratri. Prayers: KalBhairaw Stotra (Sanskrit) and Arati (Marathi) Bharadi sings Arati while playing Sambal on Paurnima, Amavasya & Navaratri.

Method of prayer: Only priest recites the Arati. Instruments: Shankha, Sambal, Chondke, Damru are played during festival, Pitch: Undefined, Language of prayer: Marathi and Sanskrit, Regional impact of music: Marathi, Influence of other music category: Folk Music, Use of amplification: No Architectural details: Small shrine of about 10’ X 10’ X 12’, with old stone walls. This 300 year old temple has a unique idol of Kalbhairaw with Batuk Bhairaw and Jogeshwari together. (It is said that Lokmanya Tilak used to come here studying.) Number of attendants: Around 3-4 devotees and 1 priest

3.3 Shākta:

The cult of Goddess Shakti, known as Shakta also has well-founded roots in Pune. The temple of Tambadi Jogeshwari stands as an epitome of Shakta worship in Pune. In the two last quarters of the previous century, there are many additions in the temples of

Goddess in Pune, which shows the growing influence of the cult. The Shakta temples also have noticeable musical practices.

Here is the survey of music at the Shakta prayer places in Pune –

1) Place of prayer: Tambadi Jogeshwari Mandir (Gramadevata, i.e. tutelary Goddess of Pune)

Religion & Cult: Hindu, Shakta, Address: 33, Budhawar Peth, Pune 02, Date of establishment: circa 9th century AD, Informer: Madhuri Bendre Details of prayer music: (A) Daily prayers – Arati at 8:30 am, Shej Arati at 9:30 pm. (B) Occasional – Bhajan is performed by group of ladies on every Monday and 2nd, 4th Saturday by at 5:00 pm. There is Gondhal performance on Kojagiri Paurnima. On every Friday in the month of Shrawan, there is Haldi-Kunku ceremony, flowed by Bhajan. (C) Annual festivals – Navaratri, Chaitri Paurnima. Prayers: Stotra, Shloka, Arati, Bhajan, Jogawa. A song in praise of a deity of specific day (Monday – Shankar, Tuesday – Devi, Wednesday – Vitthal, Thursday – Datta, Friday – Devi, Saturday – Maruti and Sunday - Khandoba) are also sung after the routine Arati. Method of prayer: The Stotra and Shlokas are recited by the lady priest alone. The Arati, Jogawa and Bhajan are recited by the devotees in chorus voice. Instruments: Ghanta is used in the Arati. The Bhajan of ladies’ group is accompanied by Taal and Ghunghru. Earlier there used to be a person playing Nagara and Chaughada on every morning and evening, but now it is played only on Paurnima at 9:00 am, Pitch:

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Undefined, Language of prayer: Marathi, Sanskrit, Regional impact of music: Marathi, Influence of other music category: Folk Music, Use of amplification: No Architectural details: The sanctum (15’ X 15’ X 20’) has an attached porch and an adjacent hall where the Bhajan and Jogawa is performed. Number of attendants: One female priest and 8-10 female devotees sing the daily prayer in presence of floating population of about 50 devotees.

2) Place of prayer: Bhawani Mandir

Religion & Cult: Hindu, Shakta, Address: Bhawani Peth, near Ramoshi gate, Pune 42, Date of establishment: circa 1660. (It is informed that this temple was there prior to Jijabai and Shivaji’s entry in Pune and that they started worshiping at this temple of Goddess. It was reconstructed in 1761 by the Sutavane and Satpute families who owned the temple at the time.), Informer: Narendra Medhekar Details of prayer music: (A) Daily prayers – Arati at 7:00 am (Ganesh, Devi and Shankar), Sayam Arati at 8:30 pm. (only Devi Arati) (B) Occasional – On Kojagiri Paurnima, there is Chhabina (procession) in the morning and Arati at 10:00 pm. The Warkari Palkhi halts here while returning from Pandharpur and they perform Bhajan for a whole night. (C) Annual festivals – Chaitri Navaratri (from Padawa to Ram Navami), Sharadiya Navaratri. Prayers: Stotra, Arati, Bhajan, Jogawa. Method of prayer: A recorded sound track of the Arati is broadcasted in the morning. The evening Arati is recited by the priest and devotees in chorus voice. Stotra and Shlokas are recited by the priest. During the Navaratri festival, Mahila Bhajani Mandals are invited to sing Bhajans during 4:00 pm to 6:00 pm. The Bhajan is sung by the members of Bhajani Mandal in responsorial method. Also, Bharadi and Gondhalis visit the temple during the Navaratri and perform their songs in folk music style. They are not appointed by the temple for doing this; they do soof their own accord.

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Instruments: Ghanta, Jhanjh and electric Nagara are used in the Arati. Shehnai and Chaughada are played during the festival at 9:00 am by Daithankar family. The Lezim, Dhol and Shankha are played during the Chhabina. The Bhajan of ladies’ group has an accompaniment of Harmonium, Tabla and Taal. The Warkari Bhajan has an accompaniment of Harmonium, Pakhawaj, Taal and Veena, Pitch: Undefined, Language of prayer: Marathi, Sanskrit, Regional impact of music: Marathi, Influence of other music category: Folk Music, Use of amplification: Yes Architectural details: The sanctum (25’ X 10’ X 15’) has an open to air Pradakshina Path and an enclosed, attached hall where the Bhajan is performed. Number of attendants: One priest and 15-20 devotees are present for the daily prayer. More than 200 people attend the Bhajan during the festival.

3) Place of prayer: Chatushringi Mandir

Religion & Cult: Hindu, Shakta, Address: Senapati Bapat Road, Pune 07, Date of establishment: 1786, Founder: Durlabh Seth Sawkar, Informer: Ravi Anagal Details of prayer music: (A) Daily prayers – Arati at 10:00 am (with Shree Sukta, Rudra Sukta and Arati of Ganesh, Devi and Shankar), Sayam Arati at 8:00 pm. (B) Occasional – Arati on 9:00 on Tuesdays. (C) Annual festivals – Chaitri Paurnima (Devi Prakad Dina), Sharadiya Navaratri. Prayers: Stotra, Arati, Bhajan. Method of prayer: A recorded sound track of the Arati is broadcasted. Only Stotras are recited by the priest. During the nine days of the Navaratri festival, Mahila Bhajani Mandals present Bhajans from 1:00 pm to 9:00 pm in a time slot of one hour each. The Bhajan is sung by the chorus of ladies and also in solo voice of a particular singer. Sometimes, Hindustani Art Music concerts are also organized during the festival. Instruments: Electric Nagara is used during the Arati. Mr. Mawdikar plays Chaughada on every Tuesday and Friday for one hour in the morning and evening according to his convenience. The Bhajan of ladies’ group has an accompaniment of Harmonium,

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electronic keyboard, Tabla, Pakhawaj, Ghunghuru and Taal, Pitch: The Arati in recorded track is in C and other prayers are in C#, Language of prayer: Marathi, Sanskrit, Regional impact of music: Marathi, Influence of other music category: Folk Music, Use of amplification: Yes Architectural details: The extensive temple premise on the slop of Chatushringi hill and the temple is on the top of the hill. The sanctum (15’ X 10’ X 12’) has open to air Pradakshina Path and an enclosed hall for devotees to have queue. However the Bhajan performances take place in the two halls in the same premises, but far away from the sanctum. Number of attendants: One priest and 40-50 devotees are present for the daily prayer. More than 2000 people attend the Bhajan during the festival.

4) Place of prayer: Ashtabhuja Durga Mandir Religion & Cult: Hindu, Shakta, Address: 624, Shaniwar Peth, Ashtabuja Durga Devi Mandir Path, Pune 30, Date of establishment: Early 19th century, Founder: Chintamani Shet Diwekar Details of prayer music: (A) Daily prayers – Puja at 10:30 am without mass prayer. (B) Occasional – Common Arati recitation only on Tuesday, Friday and during Navratri at 10:30 am and 7:30 pm. (C) Annual festivals – Sharadiya Navaratri. Prayers: Stotra, Arati, Bhajan. Method of prayer: A priest recites Stotra, Arati in solo voice, except on Tuesday and Friday when all devotees join him. During the nine days of Navaratri festival, Mahila Bhajani Mandals present Bhajans from 4:00 pm to 7:00 pm in time slot of one and half hour each. The Bhajan is sung by the chorus of ladies and also in solo voice of a particular singer. Instruments: Ghanta is used during the daily prayer. The Bhajan of ladies’ group has an accompaniment of Harmonium, Tabla, Ghunghuru and Taal, Pitch: Undefined,

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Language of prayer: Marathi, Sanskrit, Regional impact of music: Marathi, Influence of other music category: Folk Music, Use of amplification: Only during festival Architectural details: The sanctum (12’X10’X15’) has an open to air Pradakshina Path and an enclosed hall (18’X25’X25’) with wooden carved roof. Number of attendants: One priest and 12-15 devotees are present for the daily prayer. More than 50 people attend the Bhajan during the festival.

5) Place of prayer: Shitala Devi Mandir

Religion & Cult: Hindu, Shakta, Address: 785, Raviwar Peth, Pune 02, Date of establishment: Early 19th century, Founder: Shreelal Pardeshi, Details of prayer music: (A) Daily prayers – Arati at 8:00 am and 7:00 pm. (B) Occasional – No (C) Annual festivals – Navaratri. Prayers: Arati, Bhajan. Method of prayer: Daily Arati is recited by the female priest. During the Navaratri festival, Bhajans are performed by women. Instruments: Only Ghanta during the Arati. Bhajans have accompaniment of Ghunghru and Jhanjh, Pitch: Undefined, Language of prayer: Hindi, Regional impact of music: North Indian, Influence of other music category: Folk Music, Use of amplification: No Architectural details: This is a tiny shrine with frontal porch (8’ X 5’ X 10’) attached to the sanctum (6’ X 4’ X 8'). Number of attendants: One priest and 5 devotees for the daily prayer. Not more than 30 people attend the Bhajan during the festival.

6) Place of prayer: Somavanshiya Kshatriya Samaj Dashamukhi Mata Mandir

Religion & Cult: Hindu, Shakta, Address: Sahasrarjun Bhawan, Swargate Corner, Pune 02, Date of establishment: Early 19th century, Informer: Mr. Banage

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Details of prayer music: (A) Daily prayers – Arati at 8:00 am and 8:30 pm (B) Occasional – Bhajan at 5:00 to 6:30 pm on every Friday. Bhandara (offering of food to the devotees on mass scale) is organized on every Amawasya and Paurnima when there is Naam Japa. (C) Annual festivals – Chaitri Navaratri and Sharadiya Navaratri. Prayers: Stotra, Arati, Bhajan. Method of prayer: The priest recites the Stotra and Arati. The devotees accompany him only by clapping. The Mahila Bhajani Mandals perform during the Navaratri festival. They sing with a group of about 8 to 10 in chorus. Instruments: Only Ghanta is played during Arati. Tasha and Electric Nagara are played during the festival. The Bhajan groups use Ghunghuru and Manjira, Pitch: Undefined, Language of prayer: Marathi and Hindi, Regional impact of music: North Indian, Influence of other music category: Popular Music, Use of amplification: Only during festival. Architectural details: The huge campus has also temples of Vishnu and Shiva. The Dashamukhi Mata temple has a sanctum (15’ X 10’ X 14’), an open to sky Pradakshina Path and an enclosed hall nearly three times as big as the sanctum. The Bhajan performances take place at the large courtyard in the same campus. Number of attendants: One priest and 12-15 devotees for daily prayer and more than 100 during the festival.

7) Place of prayer: Twashta Kasar Samaj Malakali Mandir

Religion & Cult: Hindu, Shakta, Address: 1385, Kasba Peth, Pune 11, Date of establishment: 1893 Details of prayer music: (A) Daily prayers – Puja is performed only in mornigs, when the priest recites Sanskrit hymns. (B) Occasional – Samaj Arati on Tuesday at 7:30 pm and on every Paurnima at 8:00 pm.

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(C) Annual festivals – Magh Shuddha Dashami (Devi Prakat Dina) and Navaratri. Prayers: Stotra, Arati, Bhajan. Method of prayer: The priest recites the Stotra and Arati in solo voice. The devotees accompany him only by clapping. Bhajan programs are organized during the nine days of Navaratri festival and Bhajani Mandals perform in one hour time slots from 4:00 pm to 7:00 pm. They render Bhajans in chorus. During Navaratri, a group of women singers from Shri Hari Hara Samajam perform a special Puja and concert of Tamil songs of Devi here. Instruments: Only Ghanta is played during Arati. The Bhajan groups use Harmonium, Tabla, Ghunghuru and Manjira, Pitch: Undefined, Language of prayer: Marathi, Regional impact of music: Marathi, Influence of other music category: Folk Music, Use of amplification: Only during festival Architectural details: This is a mud-brick construction with wooden pillars and roof, with a height of 2.5 floors. The sanctum and the front hall have a nice acoustic setup. Number of attendants: One priest and 5-8 devotees for daily prayer and more than 50 during the festival.

8) Place of prayer: Padmavati Mandir

Religion & Cult: Hindu, Shakta, Address: Survey no 50, Karve Nagar, Pune 52, Date of establishment: 1900, Founder: Mr. Bhiku Krishna Phengse Details of prayer music: (A) Daily prayers – Arati at 8:30 am. (B) Occasional – Bhajan performance by women every Friday at 4:00 pm to 6:00 pm. (C) Annual festivals – Navaratri. Prayers: Stotra, Arati, Bhajan. Method of prayer: The priest recites the Stotra and Arati in solo voice. A group of 8-10 women perform the Bhajans in chorus. Instruments: Ghanta (for Arati), Ghunghuru and Jhanjh (in Bhajan), Pitch: Undefined, Language of prayer: Marathi, Regional impact of music: Marathi, Influence of other music category: Folk Music, Use of amplification: No

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Architectural details: This small shrine with a sanctum and an attached hall with a tin roof. The acoustic setup is mediocre. Number of attendants: One priest and 4-5 devotees for daily prayer and more than 50 during the festival.

9) Place of prayer: Shri Mahalakshmi Mandir

Religion & Cult: Hindu, Shakta, Address: 2170, Bansilal Ramnath Aggarwal Religious & Charitable Trust, Sarasbaug, Sadashiv Peth, Pune 411030, Date of establishment: 1981, Founder: Bansilal Ramnath Aggarwal, Informer: Hrishikesh More Details of prayer music: (A) Daily prayers – Arati at 7:00 am and 7:15 pm (B) Occasional – Deepotsav, Annakoot, Mogra Archana (C) Annual festivals – Navaratri. Prayers: Stotra, Arati Method of prayer: The morning Arati is recited by the priest and the congregation in chorus. However, in the evening, a recorded track of Arati is broadcasted on a sound system. Instruments: Ghanta (for Arati), Ghunghuru and Jhanjh (in Bhajan), Pitch: Undefined, Language of prayer: Hindi and Marathi, Regional impact of music: Gujarat, Influence of other music category: Popular Music, Use of amplification: No Architectural details: There are three sections of the sanctum in which the idols of Mahalakshmi, Saraswati and Mahakali are situated. The huge hall, with marble carvings with height of about 1.5 floors, has a nice acoustic setup. Number of attendants: One priest and 20-30 devotees for daily prayer and more than 400 during the festival.

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10) Place of prayer: Kalubai Mandhar Devi Mandir

Religion & Cult: Hindu, Shakta, Address: 222, Budhawar Peth, Near Dagdusheth Ganesh Mandir, Pune 02, Date of establishment: 1999, Founder: Mr. Satish Chavan, Informer: Atul Chavan Details of prayer music: (A) Daily prayers – Daily Puja is practiced, but no daily Arati is performed. (B) Occasional – The Arati is recited on Paurnima and Amawasya at 7:30 pm. The Arati of Ganesh and Mandhar Devi are recited. Jagran Gondhal is performed on Kojagiri Paurnima at 9:00 pm. (C) Annual festivals – Navaratri and Mandhar Devi Jatra in January. Prayers: Arati, Jagran Gondhal. Method of prayer: The chorus of devotees recites the Arati with clapping. The Jagran Gondhal is performed by troupe of Mr. Suresh Gondhali, consisting of one main performer and 6 accompanists. They sing the Gondhal songs in responsorial method. Instruments: Sambal, Dimdi, Tuntune and Jhanjh are used in Gondhal, Pitch: Undefined, Language of prayer: Marathi, Regional impact of music: Marathi, Influence of other music category: Folk Music, Use of amplification: No Architectural details: This small temple is situated in the basement of a residential apartment, and has bad acoustics. Number of attendants: One priest and 12-15 devotees for prayer on Paurnima and Amawasya and more than 150 during the festival.

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3.4 Gāṅapatya:

Shri Ganesh is also a deity associated with music. The Lord Ganesh is considered to be the incarnation of Om, the cosmic sound. He is depicted as a celestial player of the

Mridanga and also as a dancer. After the movement of ‘Sarvajanik Ganeshotsav’ (public festival of Ganesh) started by the great political leader Lokmanya Tilak, in 18942, many temples of Ganesha became the hubs of socio-political and cultural activities. The

Ganeshotsav is considered to be the most illustrious religious festival in Pune and during this time, there is a downpour of music programs in Pune. Generally these music shows often take place either in a temporary pandal on the street or in auditoriums, instead of the actual temple. However, such programs do not fit into the scope of this research work, as this work focuses specifically on the music involved in actual prayer services in the temples.

Here are the details of the music at Ganesh temples in Pune, from the field survey –

1) Place of prayer: Shri Kasba Ganapati Mandir (Gram Daivat of Pune)

Religion & Cult: Hindu, Ganapatya, Address: 2, Kasba Peth, Pune 411011, Date of establishment: before 1660, Founder: Jijabai Bhosle reconstructed it in circa 1660 Details of prayer music: (A) Daily prayers – Arati at 6.30 am and 7.30 pm (B) Occasional – Every Ekadashi (C) Annual festivals – Ganesh Janmotsav in month of Bhadrapad. Prayers: Vedic hymns, Arati, Bhajan, and Keertan.

2 Anne Feldhaus, in Tikekar, 2000 (vol.1): 14 (Though Bhausaheb Javle was the one who organized first public Ganeshotsav in 1892 at ‘Bhausaheb Rangari Ganapati’ in Budhawar Peth, the credit of projecting the festival as sociopolitical movement goes to Lokamanya Tilak.) 109

Method of prayer: Vedic hymns are chanted by the priests. Arati and Bhajan are recited by the devotees in chorus. Keertan is performed by the Keertankar. Instruments: Only Ghanta is used for the daily Arati. Bhajans are recited by female devotees with no instrumental accompaniment. Tabla, Harmonium and cymbals are used for Keertan, Pitch: not specific, Language of prayer: Marathi, Sanskrit, Regional impact of music: Marathi, Influence of other music category: Folk music and Art music, Use of amplification: Only during festival Architectural details: This is a temple shrine with a santum, surrounded by Pradakshina Path. The prayer hall has wooden ceiling and columns, thereby improving the acoustics. Number of attendants: Regular attendance of 25-30 and more than 300 during festival

2) Place of prayer: Sakshi Vinayak Mandir

Religion & Cult: Hindu, Gosawi sect, Address: 373, Bhawani Peth, Opposite Bhawani Mata Mandir, Pune 411002, Date of establishment: circa 1670 Details of prayer music: (A) Daily prayers – Arati at 6.30 am and 7:30 pm (B) Occasional – Pradosh Puja (C) Annual festivals – Ganesh Janmotsav in month of Magh, Mahashivaratri Prayers: Vedic hymns and Hindi Arati of Ganapati (Jay ganesh Jay Ganesh Deva) is recited by the priest. Method of prayer: Vedic hymns and Arati is chanted by the priests alone. Earlier there was tradition of Ektari Bhajan (in Hindi), but that has been discontinued in last three decades. Instruments: No instrument is used, Pitch: not specific, Language of prayer: Sanskrit, Hindi, Regional impact of music: Gujarat, Influence of other music category: Primitive music, Use of amplification: No Architectural details: This is a very small shrine of about 6’ X 10’ X 10’ with brick wall and wooden structure. Number of attendants: One priest and 4-5 devotees.

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3) Place of prayer: Trishund Ganapati Mandir

Religion & Cult: Hindu, Gosawi sect, Address: 139, Mangalwar Peth, Near Kamla Nehru Hospital, Pune 411002, Date of establishment: 1754, Founder: Mahant Shri Bheemgir Gosawi Details of prayer music: (A) Daily prayers – Puja at 8.30 am (B) Occasional – Punyahavachan on Chaturthi (C) Annual festivals – Ganesh Janmotsav in month of Magh, Mahashivaratri, Punyatithi of Bheemgir Gosawi. Prayers: Vedic hymns in daily prayer. Bhajan program is organized festival. Method of prayer: Vedic hymns are chanted by the priests. Bhajans are recited by a group of Mahila Bhajani Mandal. Instruments: Only Ghanta is used for daily Puja. Bhajans are recited by female devotees with an accompaniment of no instrument other than Taal, Pitch: not specific, Language of prayer: Sanskrit, Marathi, Regional impact of music: (-), Influence of other music category: Primitive music, Use of amplification: No Architectural details: This stone carved temple is famous for its unique sculptures. The temple has Samadhis of many Gosawis and a water tank in the underground floor with. The outer walls of temple have beautiful carvings of many deities. There is a rare idol of Ganapati straddling on peacock, with three heads and trunks, which is why it is called ‘Trishund Ganapati’. The Garbh Griha (8’ X 10’ X 15’) has a front hall (25’ X 30’ X 25’) with good acoustics. Number of attendants: One priest and 4-5 devotees.

4) Place of prayer: Shri Siddhi Vinayak Mandir

Religion & Cult: Hindu, Ganapatya, Address: Sarasbaug, near Swargate, Pune 411002 Date of establishment: 1784, Founder: Sawai Madhaorao Peshwa. (Established in 1784 by Madhaorao Peshwe, with additions of temple shrines in 1882 by Raobahadur

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Kasbekar, 1990 May 28th by CM Manohar Joshi), Informer: Tushar Karve (priest), Dr. V. V. Peshwa (Trustee) Details of prayer music: (A) Daily prayers – Arati at 6.30 am and 7.30 pm (B) Occasional – Every Chaturthi and Ekadashi (C) Annual festivals – Ganesh Janmotsav in month of Magh. Prayers: Arati Panchak (Ganesh – ‘Sukhakarta Dukhaharta...’, Devi, Shankar, Datta & Ganapati – ‘Nana Parimal…’) is recited by priests and devotees. Arati is rendered with an accompaniment of Ghanta; the tune is traditional Marathi Arati tune. On Chaturthi, there is Bhajan by various Bhajan groups. No Keertan is performed here, but performances of Bhajan and Art music are organized during their annual festival. Method of prayer: Chorus of male and female participants Instruments: Only Ghanta is used for daily Arati. Tabla, Harmonium and cymbals are used for Bhajan on special occasions, Pitch: not specific, Language of prayer: Marathi, Regional impact of music: Marathi, Influence of other music category: Art music, Use of amplification: Only during festival Architectural details: Huge hall (20’X40’X18’) with open space. Number of attendants: Regular attendance of 25-30, which goes up to 125-150 during the festival.

5) Place of prayer: Modi Ganapati Mandir

Religion & Cult: Hindu, Ganapatya, Address: 527, Narayan Peth, Pune 411030, Date of establishment: circa 1811, Founder: Bhat Shastri During reign of Peshwas, this place was a personal garden of Khushru Modi, a Parsee who worked as a translator for Peshwas and English men. Bhat who came from Ratnagiri, Konkan found a naturally made idol of Ganesh and he established this temple. Informer: Phadke Guruji (priest) Details of prayer music:

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(A) Daily prayers – Pooja with recitation of Vedic hymns at 6.30 am, 5 to 6 pm – Pravachan, 6 to 7.30 pm - Keertan (B) Occasional – Bhajan on every Thursday from 9 pm to 2 am, Keertan on every Ekadashi at 5.30 pm to 7.30 pm, by Mr. Mawle (C) Annual festivals – Datta Jayanti and Guru Paurnima. Bhajan programs during festivals from 4 pm to 7 pm. Prayers: Arati (Ganesh, Devi, Shankar, Panduranga & Datta) Method of prayer: Prayers sung in chorus. Instruments: Ghanta and Taas for daily Arati. Tabla, Harmonium and cymbals are used for Keertan and Bhajan, Pitch: not specific, Language of prayer: Marathi, Regional impact of music: Marathi, Influence of other music category: Popular music, Use of amplification: Yes Architectural details: Two storied hall of about 40’ X 20’ dimension Number of attendants: Congregation of 40-50 persons

6) Place of prayer: Varad Ganapati Mandir aka Gupchup Ganapati Mandir

Religion & Cult: Hindu, Ganapatya, Address: 106, Shaniwar Peth, Pune 411030, Date of establishment: 12 February 1882, Founder: Ramchandra Vishnu Gupchup & Moreshwar Raoji Dixit Details of prayer music: (A) Daily prayers – Pooja with recitation of Vedic hymns at 6.30 am (B) Occasional – Prayer on Sankashti Chaturthi (C) Annual festivals – Ganeshotsav in month of Bhadrapad. Bhajan program is organized during festival from 4 pm to 7 pm. Prayers: Stotra and Arati Method of prayer: Stotra and Arati are recited by the priest only. Bhajan is sung by the singers in a chorus. (The tradition of having Keertan performance has been discontinued for last three decades.)

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Instruments: Ghanta for daily Arati. Only cymbals are used for Bhajan, Pitch: not specific, Language of prayer: Marathi, Sanskrit, Regional impact of music: Marathi, Influence of other music category: Primitive music, Use of amplification: No Architectural details: Temple with typical Peshwa style mud-brick structure with a pinnacle and a front hall (10’ X 25’ X 18’) Number of attendants: Approx. 8-10 persons for daily prayer.

7) Place of prayer: Shri Dagdushet Halwai Ganapati Mandir

Religion & Cult: Hindu, Ganapatya, Address: 250, Budhawar Peth, Pune 411002, Date of establishment: 1893, Founder: Lakshmibai Dagdushet Halwai Details of prayer music: (A) Daily prayers – Arati at 6.30 am and 7.30 pm (B) Occasional – Every Ekadashi (C) Annual festivals – Ganesh Janmotsav in month of Bhadrapad. Prayers: Vedic hymns, Arati, Bhajan, Keertan. Method of prayer: Vedic hymns are chanted by the priests. Arati and Bhajan are recited by the devotees in chorus. Keertan performed by the Keertankar. Instruments: Only Ghanta is used for daily Arati. Tabla, Harmonium and cymbals are used for Bhajan, Keertan, Pitch: not specific, Language of prayer: Marathi, Sanskrit, Regional impact of music: Marathi, Influence of other music category: Folk music and Art music, Use of amplification: Yes Architectural details: Three storied, marble built temple with a large hall (50’ X 70’) Number of attendants: Regular attendance of around 100 devotees and more than 100 during festivals.

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8) Place of prayer: Shri Vinayak Omkar Mandir aka Bedekar Ganapati Mandir

Religion & Cult: Hindu, Ramdasi, Address: 43/2, Omkar, Rambaug Colony, Paud Road, Pune 38, Date of establishment: 1969, Founder: Vishwanath Bedekar, Informer: Govind Bedekar Details of prayer music: (A) Daily prayers – Arati at 7:00 am and 7:30 pm (B) Occasional – Ekadashi, Chaturthi (C) Annual festivals – Ganesh Janmotsav, Ram Janmotsav in month of Magh, Daas Navami. During festivals, concerts of Hindustani Art music and Bhajans are organized along with Keertan performances. Prayers: Vedic hymns and Arati of Ganapati, Shankar, Devi, Datta and Ram are recited by the priest. (Earlier there was tradition of Kakad Arati, which has now been discontinued.) Method of prayer: Vedic hymns and Arati are chanted by the priests alone. Earlier there was tradition of Ektari Bhajan (in Hindi), but it has been discontinued in last three decades. Instruments: The priest recites the hymns and Arati with an accompaniment of electronic Tanpura. Harmonium, Violin, Tabla, Pakhawaj, Jhanjh, Chipli are used during Keertan and Art music concerts, Pitch: D# for Arati by male priest, Language of prayer: Sanskrit, Marathi, Regional impact of music: Marathi, Influence of other music category: Hindustani Art music, Use of amplification: Yes Architectural details: The Garbha Griha (12’ X 8’ X 15’) has adjoining hall where the concerts take place with courtyard for extended audience. Number of attendants: One priest and 10-15 devotees for daily prayer. During the festivals, more than 200 people visit the place.

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3.5 Datta:

The cult of Datta gives much emphasis on the music in the prayer service3 and it is obvious because it is mentioned that Dattatreya was a musician who played Damru.

Furthermore, there are numerous references of music in ‘Guru Charitra’4, the sacred scripture of Datta cult. The followers of Datta cult enjoy various types of Bhajans and

Stotra recitations. This was reflected in the music at the Datta temples in Pune. Here are the details –

1) Place of prayer: Junnarkar Datta Mandir

Religion & Cult: Hindu, Datta, Address: Junnarkar Wada, Laxmi Road, Sadashiv Peth, Pune 411030, Date of establishment: 1764 (Vaishakh Shuddha 9) Details of prayer music: (A) Daily prayers – 7.30 pm (B) Occasional – Bhajan on every Thursday from 9 pm to 2 am. The tradition of performing Keertan is not observed in last 20 years. Renowned personalities such as Sonopant Dandekar used to perform Keertan here. (C) Annual festivals – Datta Jayanti and Guru Paurnima. Bhajan programs during festivals from 5 pm to 6 pm. Prayers: Arati (Ganesh, Devi, Shankar & Datta) Method of prayer: Prayers sung in solo voice of priest. Instruments: Ghanta for daily Arati. Tabla, Harmonium and cymbals are used for Bhajan, Pitch: not specific, Language of prayer: Marathi, Regional impact of music: Marathi, Influence of other music category: Folk music, Use of amplification: No Architectural details: Small temple in background of tree, about 15’ X 10’ dimension Number of attendants: About 5-10 persons

3 Jones and Ryan, 2007: 121 4 Personal interview with Dattatreya Sapre, priest at KMP Datta Mandir, 2015 116

2) Place of prayer: Sahasrabuddhe Datta Mandir

Religion & Cult: Hindu, Datta, Address: 1334 to 1341, Sadashiv Peth, Opp. Godbole Hospital, Pune – 30, Date of establishment: 1897, Founder: Dr. S S Sahasrabuddhe, Informer: Mr. Sahasrabuddhe Details of prayer music: (A) Daily prayers – 7.30 pm (B) Occasional – Bhajan on every Thursday from 9 pm to 2 am. (C) Annual festivals – Datta Jayanti and Guru Paurnima. Datta Janma Keertan occurs at 12 noon. Prayers: Stotra, Arati and Keertan Method of prayer: Prayers sung in solo voice of priest. Instruments: Ghanta for daily Arati. Tabla, Harmonium and cymbals are used for Keertan, Pitch: Undefined for Stotra. D# in Keertan by male singer, Language of prayer: Marathi, Sanskrit, Regional impact of music: Marathi, Influence of other music category: Hindustani Art music, Use of amplification: Only for Keertan Architectural details: A small temple (8’ X 10’ X 15’) in an old Wada. Keertan takes place in the courtyard. Number of attendants: About 5-10 persons for daily prayer. 30-40 for Keertan

3) Place of prayer: Laxmibai Dagdusheth Halwai Datta Mandir

Religion & Cult: Hindu, Datta, Address: 1734, Budhawar Peth, Near Mahatma Phule Market, Pune 411002, Date of establishment: 4 July 1904, Founder: Laxmibai Dagusheth Halwai Informer: Shatrughna Sonavane (watchman) Details of prayer music: (A) Daily prayers – 12:30 pm and 8:45 pm (B) Occasional – Bhajan on every Thursday from 9 pm to 2 am. Keertan on every Ekadashi at 5:30 pm to 7:30 pm, by Mr. Mawle

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(C) Annual festivals – Datta Jayanti and Guru Paurnima. Bhajan programs during festivals from 4 pm to 7 pm. Prayers: Arati (Ganesh, Devi, Shankar, Panduranga & Datta) Method of prayer: Prayers sung in chorus. Instruments: Ghanta and Taas for daily Arati. Tabla, Harmonium and cymbals are used for Keertan and Bhajan, Pitch: not specific, Language of prayer: Marathi, Regional impact of music: Marathi, Influence of other music category: Popular music, Use of amplification: Yes Architectural details: This is a two storeyed hall of dimension about 40’ X 20’. Number of attendants: Congregation of 40-50 persons

4) Place of prayer: Shrīpād Datta Mandir aka Dāthiwālā Datta Mandir

Religion & Cult: Hindu, Datta, Address: Near Kunte Chowk, Shukrawar Peth, Off Lakshmi Road, Pune 411030, Date of establishment: 1st June 1911, Founder: D K Ghanekar and Balappa Maharaj (disciple of Akkalkot Swami Samarth) Details of prayer music: (A) Daily prayers – Arati at 8.30 am and 7.30 pm (B) Occasional – Bhajan on every Thursday from 8 pm to 9 am. Keertan on Ekadashi and Sessions of Guru Charitra Parayan takes place in every month. (C) Annual festivals – Datta Jayanti and Guru Paurnima. Keertan (7:00 pm to 8:00 pm) and Bhajan (8:30 pm to 9:30 pm) takes place during festivals. Datta Janma Keertan is done at 12 noon. Prayers: Stotra, Arati and Bhajan, Keertan Method of prayer: Stotra and Guru Charitra recitations are undertaken by only the priest. Devotees also recite Japa individually. Arati and Bhajan are sung in group, mainly by female devotees. Instruments: Ghanta for daily Arati. Tabla, Harmonium and cymbals are used for Keertan and Bhajan, Pitch: Undefined for Stotra. Mostly A and D for Bhajan and Keertan by female singers, Language of prayer: Marathi and Sanskrit, Regional impact

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of music: Marathi, Influence of other music category: Hindustani Art music, Use of amplification: Only for Keertan Architectural details: A small hall of about 10’ X 15’ X 20’ dimension Number of attendants: Congregation of 10-12 for daily prayers. 40-50 during festival

5) Place of prayer: Shri Gurudev Datta Mandir

Religion & Cult: Hindu, Datta, Address: Near Kamla Nehru Park, off Bhandarkar road, Pune 411002, Date of establishment: 1975. (A gardener found wooden Padukas (holy footwear) here in1968. In 1975 a small temple housing the Paduka was built. The trust was formed in 1981 and the temple was refurbished in 2008.), Founder: Shri Gurudev Datta Trust Informer: Dattatrey Sapre (priest), Nagesh Karpe (manager) Details of prayer music: (A) Daily prayers – Arati at 7:00 pm (B) Occasional – Every Thursday 12 noon. Chaughada is played by Mr. Pandit on every Thursday 6:00 to 7:00 pm (C) Annual festivals – Major festival is Datta Jayanti on Margasheersh Shuddha 9 to 15. Other annual festivals are as following – Chaitra Shuddha 1 - Gudhi Padwa,Chaitra Shuddha 2 – Akkalkot Swami Jayanti, Chaitra Shuddha 9 – Ram Navami, Chaitra Shuddha 15 – Hanuman Jayanti, Vaishakh Shuddha 3 – Akshayy Tritiya, Ashadh Shuddha 15 – Guru Paurnima, Shravan Shuddha 15 – Narali Paurnima, Ashwin Shuddha 1 to 9 – Navaratra, Ashwin Shuddha 15 – Kojagari Paurnima, Kartik Shuddha 15 – Tripurari Paurnima, Paush Shuddha 15 – Makar Sankranti, Magh Shuddha 4 – Ganesh Jayanti, Magh Krishna 7 – Gajanan Maharaj Prakat Dina, Phalgun Shuddha 15 – Holi Paurnima. Prayers: Arati (Ganesh, Devi, Shankar, Datta & Panduranga) followed by Tripadi. No Keertan is performed here, but there is Bhajan Saptah during Datta Jayanti festival. Method of prayer: Chorus of male and female participants

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Instruments: Only Ghanta is used for daily Arati. Tabla, Harmonium and cymbals are used for Bhajan on special occasions, Pitch: not specific, Language of prayer: Marathi, Regional impact of music: Marathi, Influence of other music category: Popular music, Use of amplification: Only on Thursday prayer and during Datta Jayanti festival. Architectural details: Cozy temple with open sided, huge hall with dimension of about 70’ X 30’ Number of attendants: Regular attendance of 10-12, on Thursdays the number goes to 50 and during festivals it increases up to 125-150.

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3.6 Other cults:

Maruti is depicted as ‘Vaishnava Gayaka’ (Vaishnav bard) by Sant Ramdas in his famous

Bheemaroopi Stotra. Usually the temples of Maruti and Shani are similar in nature – they are places in a street corner in a tiny structure and moreover, they are found in the same complex. The details for the survey of music at the temples of Maruti and Shani in Pune are as following –

1) Place of prayer: Hanuman Mandir, Bhawani Peth

Religion & Cult: Hindu, Ramanandi Vaishnav Bairagi Sampraday, Address: 822, Bhawani Peth, Pune 411042, Date of establishment: Early 17th century, Informer: Bairagi Mahant Details of prayer music: (A) Daily prayers – Arati at 9.00 am (B) Occasional – Ektari Bhajan on every Thursday at 10:30 pm (C) Annual festivals – Hanuman Jayanti. Prayers: Arati, Bhajan, Hanuman Chalisa Method of prayer: Arati and Hanuman Chalisa are recited by the priest only. The weekly Bhajan is performed by the male group of Bhajani Mandal. Instruments: Ghanta is used for daily Arati. Bhajans are recited with an accompaniment of Ektari, Dimdi and Taal, Pitch: Undefined, Language of prayer: Hindi (Arati, Hanuman Chalisa, Bhajan) and Marathi (Bhajan), Regional impact of music: North Indian, Influence of other music category: Folk music, Use of amplification: No Architectural details: The small shrine (8’ X 10’ X 10’) is under a Peepal tree and has a courtyard where Bhajan is performed. Number of attendants: Regular attendance of 10-12 and more than 50 during the festival.

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2) Place of prayer: Rokdoba Mandir

Religion & Cult: Hindu, Ramdasi, Address: 558, Shivaji Nagar, Pune 411005, Date of establishment: Early 17th century, Founder: Sant Ramdas. (Jangali Maharaj reconstructed this temple in circa 1870. There is an idol of Shani seated on peacock behind the temple. There are shrines of Jangli Maharaj’s two disciples and a Samadhi of Shirole Patil in the premises too. Jangali Maharaj passed away in the same temple), Informer: Tukaram Bhosle Details of prayer music: (A) Daily prayers – Arati at 8:00 am and 7:00 pm (B) Occasional – Every Paurnima (C) Annual festivals – Hanuman Jayanti Prayers: Arati, Bheemaroopi Stotra, Hanuman Chalisa, Bhajan Method of prayer: Arati, Stotra and Hanuman Chalisa are recited by the priest. The members of ‘Jangli Maharaj Bhani Mandal’ sing Bhajan in chorus voice. Instruments: Ghanta and Nagara are played during the daily Arati. Bhajans are recited with an accompaniment of leg pumped Harmonium, Pakhawaj and Taal. The Chaughada is played during the festivals, Pitch: Undefined for Arati. Bhajan is sung in F and A#, Language of prayer: Marathi, Hindi, Regional impact of music: Marathi, Influence of other music category: Folk music, Use of amplification: Only during festival Architectural details: The huge temple complex has a hall (40’ X 90’ X 25’) with open space around it. Number of attendants: Regular attendance of 10-12 and more than 250 during festival.

3) Place of prayer: Bhikardas Maruti Mandir

Religion & Cult: Hindu, Address: 192 B, Shukrawar Peth, Opposite Sadawarte Ram Mandir, Phulwala Chowk, Pune 411002, Date of establishment: 1818, Name of founder: Bhakardas Seth, Informer: Amrut Dave and Umesh Madiwale Details of prayer music: (A) Daily prayers – Arati at 11:00 am & 9:30 pm

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(B) Occasional – no. (C) Annual festivals – Hanuman Jayanti and Ganesh Jayanti. Prayers: Ramastuti, Hanuman Chalisa, Bhimarupi Stotra, Ekashloki Ramayana, Ekashloki Bhagawat, Samarth Krita Hanuman Namaskar, Arati Method of prayer: Arati is recited by a chorus in the traditional Hindi & Marathi tunes of Arati. (Earlier only the priest used to recite Arati, but now devotees too join him.) Arati is accompanied by Ghanta, Jhanjh without any melodic accompaniment. Stotras are recited by the priest only, in the traditional Chhand tunes. Keertan is performed during the festival. During the annual festival, there is Keertan performance. Instruments: Ghanta and Jhanjh are used for daily Arati. Nagara is played early in the morning, before the Arati. Keertan is accompanied by Harmonium, Tabla and Taal, Pitch: Undefined, Language of prayer: Marathi and Hindi, Regional impact of music: North Indian, Influence of other music category: Folk music, Use of amplification: Only during festival. Architectural details: The small Garbha Griha (10’ X 10’ X 10’) with an adjoining square shaped hall with flat wooden roof. There is an open to sky space between the Sabha Mandap and the Garbha Griha. Number of attendants: 1 priest & about 20 devotees. (A total of about 300 to 500 devotees visit Mandir every day.)

4) Place of prayer: Solapur Bazar Maruti Mandir

Religion & Cult: Hindu, Nath Sampraday, Address: Jambhulkar Mala, Solapur Bazar lane, Camp, Pune 411040, Date of establishment: April 1884, Informer: Adwaitanand Baba Details of prayer music: (A) Daily prayers – Puja at 8:30 am with Stotra recitations, Sayam Arati at 7:30 pm. (B) Occasional – Ektari Bhajan on every Saturday at 10:30 pm (C) Annual festivals – Hanuman Jayanti, Guru Paurnima

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Prayers: Stotra, Arati and Hanuman Chalisa, and Bheemaroopi Stotra. Various saint poems (Marathi and Hindi) are recited in the Ektrari Bhajan Method of prayer: Stotra, Arati are rendered by the priest. The Bhajan is sung in responsorial method by a troupe of male singers. Instruments: No instruments for Arati. Bhajan is accompanied by Ektari, Chipli, and Dimdi, Pitch: D# and G#, Language of prayer: Marathi and Hindi, Regional impact of music: Maharashtra, Influence of other music category: Folk music, Use of amplification: No Architectural details: This is a temple complex with three small shrines with idols of Maruti, Nava Graha, Shiva Panchayatan, Datta, and Ram Panchayatan. The temple has a hall (10’ X 20’ X 10’) with a wooden roof and pillars. Number of attendants: One priest & about 5-7 devotees.

5) Place of prayer: Shani – Maruti Mandir

Religion & Cult: Hindu, Address: Shani Paar, Bajirao Road, Shukrawar Peth, Pune 411002, Date of establishment: 1890, Name of the founder: Narayan Sadashiv Kelkar Details of prayer music: (A) Daily prayers – Arati 7:00 pm. (B) Occasional – Arati and Stotra Pathan on every Saturday at 10:00 am and 7:00 pm (C) Annual festivals – Shani Janmotsav, Hanuman Jayanti Prayers: Stotra, Arati Method of prayer: Stotra, Arati are recited by the devotees in chorus. Instruments: Ghanta for Arati, Pitch: Undefined, Language of prayer: Marathi, Regional impact of music: Maharashtra, Influence of other music category: Folk music, Use of amplification: No Architectural details: This is a petite shrine under a Peepal tree with a Garbha Griha housing idols of Shani and Maruti (6’ X 6’ X 8’), with an adjunct Pradakshina Path. There are idols of Vitthal-Rakhumai, Shivalinga behind it and one of Mhasoba in the front.

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Number of attendants: One priest & about 8-10 devotees. On Saturday, more than 100 people visit and during festivals, the number of attendants goes up to 500.

6) Place of prayer: Khane Maruti Mandir

Religion & Cult: Hindu, Nath, Address: Near East Street police station, Camp, Pune 411001, Date of establishment: Late 19th century, Name of the founder: Mr. Khane, Informer: Baba Mahant Details of prayer music: (A) Daily prayers – Arati at 8:30 am and 7:00 pm. (B) Occasional – Ektari Bhajan on every Saturday at 10:30 pm (C) Annual festivals – Hanuman Jayanti, Ram Navami, Mahashivratri Prayers: Stotra, Arati (Marathi and Hindi) and Bheemaroopi Stotra, Ektrari Bhajan Method of prayer: Stotra, Arati are rendered by the priest. The Bhajan is sung in responsorial method by a troupe of male singers. Instruments: Ghanta for Arati. Bhajan is accompanied by Ektari, Chipli, and Dimdi, Pitch: Undefined, Language of prayer: Marathi and Hindi, Regional impact of music: Maharashtra, Influence of other music category: Folk music, Use of amplification: No Architectural details: The Garbha Griha (10’ X 10’ X 12’) has a Pradakshina Path and an adjacent hall (16’ X 15’ X 20’). The interior of this originally stone carved temple was restored with tile cementing a few years back, which has caused a bad effect on the acoustics. Number of attendants: One priest & about 10-15 devotees. During the festival, the number of attendants goes to 100.

7) Place of prayer: Balbheem Mandir

Religion & Cult: Hindu, Datta,Address: 769/8, Deccan Gymkhana, Off Bhandarkar road, Pune 411004, Date of establishment: 1937, Name of founder: Bhagirathi Vaidya, Informer: Nilima Kulkarni (care taker), Suman Modak (trustee)

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Details of prayer music: (A) Daily prayers – Pratah Arati at 6:30 am, Puja at 8:30 am, Pothi Wachan at 9:00 am, Arati at 10:30 am. Sayam Arati at 6:30 pm. Katha (Pravachan with few Pada) on every Ekadashi at 4:30 pm. (B) Occasional – In the month of Kartik, there is Kakad Arati and Bhajan (C) Annual festivals – Hanuman Jayanti, Guru Paurnima, Guru Jayanti (Divyachi Awas), Ranga Panchami. Prayers: There is prescribed set of prayers (Stotra, Arati and Bhakti Pada) for each day of the week and a special selection Padas for Kakad Arati. Method of prayer: Arati sung by the gathering in chorus. The Bhajan is sung in responsorial method. The songs in Kakad Arati were earlier sung by a group of women, but now the lady priest sings them alone due to the absence of the group. During the annual festival, there is Keertan performance. Instruments: Ghanta and Taas are used for daily Arati. Bhajan is accompanied by Harmonium, Tabla and Taal, Pitch: G#, Language of prayer: Marathi and Sanskrit. A few Hindi devotional songs of saint poets are also sung, Regional impact of music: Maharashtra. Influence of other music category: Folk music and Hindustani Art music. There is an influence of NatyaSangeet on the tunes of Bhajans, Use of amplification: Only for Keertan Architectural details: Old stone building with a square shaped hall with a height of about 2 stories, with wooden roof. Sound resonates in a good manner. One gets a feeling of being calm and spiritually charged. Number of attendants: One female priest and about 10-12 devotees attend the daily prayer. Around 25 women gather for Bhajan. For annual festivals, head count goes to 100. [Mostly devotees visiting here have taken formal Deeksha of this cult.]

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3.7 Mattha:

Many holy persons, spiritual leaders of various sects and their disciples established hermitages (Mattha) in Pune and these hermitages, after gaining a fair number of followers, became popular places of worship. Some Matthas have Samadhis (burials or mundane relics) of the holy persons, but some Matthas have idols of the tutelary deity.

Many sects have deliberately used music as a mean of connecting to more number of people and hence, most of the Matthas have diverse musical practices and prescribed sets of songs as a part of regular worship.

Here are the details of music at the Matthas in Pune –

1) Place of prayer: Gorakshnath Samadhi Mandir

Religion & Cult: Hindu, Nath, Address: 242 A, Rasta Peth, Near Madrasi Ganapati, Pune 411011, Date of establishment: 17th Century Details of prayer music: (A) Daily prayers – No (B) Occasional – Arati at 7:30 pm on every Thursday only. (C) Annual festivals – Datta Jayanti, Gorakshanath Jayanti Utsav in November Prayers: Aratis of Navanath, Stotra Method of prayer: The devotees recite the Arati in chorus. During festivals, a concert of Ektari Bhajan takes place. Instruments: Ghanta and Taas in Arati. Ektari, Dimdi, Chimta and Jhanjh in Bhajan, Pitch: Undefined, Language of prayer: Marathi and Hindi, Regional impact of music: (-), Influence of other music category: Folk music, Use of amplification: Only during festival Architectural details: It is a small shrine (5’ X 7’ X 8’) on the side of lane. The Bhajan takes place on the road. Number of attendants: Around 7-8 for Arati, 15-20 for Bhajan

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2) Place of prayer: Nanjangudu Shri Raghavendra Shri Varadendra Swami Math

Religion & Cult: Vaishnav, Madhwacharya Sampraday, Address: 556, Sadashiv Peth, Laxmi Road, Pune 411030, Date of establishment: 1864, Informer: Dattatrey Joshi (Pujari), Sachin Kulkarni Details of prayer music: (A) Daily prayers – Pratah Arati at 5:30 am - recitation of four Vedic Mantras or Suktas, followed by a Stotra and one Bhajan. Sayam Arati at 7:30 pm (B) Occasional – Every Thursday, there is RathaYatra (procession of God on chariot) at 7:00 pm, followed by a Kannada Bhajan Program. According the Hindu calendar, on special days, there is Ashtrawadhan Sewa and Panchang Sewa which consists of Vedic recitations and Kannad Bhajans. (C) Annual festivals – Annual festivals – Ashadha Saptami, Shravan Pratipada, Shravan Dwitiya Prayers: Mantra, Stotra, Arati and Bhajan Method of prayer: Mantra, Stotra and Arati are recited only by the priest and devotees follow it in their mind. Arati sung by priests and devotees in a group with an accompaniment of Taal and Taas. The electronic Nagara is played before Arati. Sanskrit recitations observed here were hurried and without much pitch variation. The annual festivals have concerts of Kannad Bhajans which are set to tunes in Ragas of Hindustani art music. On festivals.Bhajan recitals are given by devotees and professional music performers alike Instruments: Ghanta, Taas, electronic Nagara for Arati. No melodic accompaniment is provided for the daily prayers. Tabla, Harmonium, Tanpura are used for Bhajans recitals. Occasionally Mridangam and Violin are used for Carnatic music renditions too, Pitch: Undefined for Arati. Pitch for singing Kannad Bhajan depends upon the voice range of the singer, Language of prayer: Sanskrit, Kannada, Regional impact of music: Karnataka, Influence of other music category: Primitive music and Hindustani Art music, Use of amplification: Not used for daily prayers. It is used for Bhajan programs during festivals.

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Architectural details: Temple with small hall of about 20’ X 12’ X 18’, having cement walls and wooden pillars. It is not acoustically designed. Number of attendants: Approximately 20 for daily prayers and more than 100 during festival.

3) Place of prayer: Akkalkot Swami Samarth Math

Religion & Cult: Hindu, Swaroop Sampraday, Address: 1104, Budhawar Peth, Near Mandai, Pune 411002, Date of establishment: 1879, Founder: Hari Anna Shete, Informer: Bhalerao Guruji Details of prayer music: (A) Daily prayers – Arati at 7:30 am, Bhajan at 6:30 pm, Sayam Arati at 8:00 pm, Upasana at 8:30 pm. (B) Occasional – Bhajan on every Thursday (C) Annual festivals – Datta Jayanti and Swami Jayanti and Punyatithi. Prayers: Arati, Stotra, Shloka, Bhajan. Method of prayer: The devotees sing the Stotras, Upasana Patha and Arati in chorus. A group of ladies sing Bhajans in chorus, without any instrumental accompaniment. Instruments: Taas and Taal for Arati, Pitch: Undefined, Language of prayer: Marathi, Regional impact of music: Marathi, Influence of other music category: Folk Music, Use of amplification: No Architectural details: The Garbha Griha (5’ X 7’ X 8’) situated under a tree has a Pradakshina Path and a cozy adjoining hall (10’ X 15’ X 12’). Number of attendants: More than 50 for daily prayer and 500 during festivals.

4) Place of prayer: Jangali Maharaj Samadhi Mandir

Religion & Cult: Hindu, Datta, Address: Jangali Maharaj Road, Shivaji Nagar, Pune, Date of establishment: 1890, Founder: Shirole Patil, Informer: Santlal Yadav Details of prayer music:

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(A) Daily prayers – Kakad Arati at 6:00 am, Sayam Arati at 7:00 pm, Panchpadi Bhajan and Shejarati at 9:30 pm. (B) Occasional – Bhajan on every Thursday at 10:00 pm to 12:30 am, Bhajan at 10:00 pm on every Ekadashi during the six months from Ashadh to Kartik, Bhajan from 7:00 am to 9:00 am on the day of Narak Chaturdashi, Dasara and Gudhi Padwa (C) Annual festivals – Chaitra Shuddha Chaturdashi, i.e. Jangali Maharaj's death anniversary. This annual festival starts on Chaitra Padwa and ends on Hanuman Jayanti. On the night before Hanuman Jayanti, there is a 'Sandal Bhajan'. Prayers: Arati, Bhajan, Stotra, Shloka, Doha. Method of prayer: Stotra by three priests in recitation form. Arati is recited in group voice along with Nagara and Taas. Bhajans are sung by 'Shri Satguru Jangali Maharaj Bhajani Mandal' (established by Jangali Maharaj in 1881) with one lead singer and a group of 30 supporting men singers (who also play Taal). Instruments: Arati: Nagara, Ghanta, Taas. Bhajan: Pakhawaj, Taal, Veena, Leg pumped Harmonium. Chaughada is played on special occasions, Pitch: Bhajan in F and A# by men, Language of prayer: Marathi and Hindi, Regional impact of music: Marathi (Some Bhajans have similar tunes to Lawani), Influence of other music category: Folk and Art Music, Use of amplification: Only during festivals and Bhajan. Architectural details: An open air hall of about 20' x 30' x 15', with century old wooden carvings. Number of attendants: Around 10-15 for daily Arati and 50-70 on special occasions and more than 150 during festival.

5) Place of prayer: Bidkar Maharaj Math

Religion & Cult: Hindu, Swaroop Sampraday, Address: 245, Shaniwar Peth, Near Narayan Peth Police Station, Pune 30, Date of establishment: 1913 (reconstruction in 2000), Founder: Babamaharaj Sahasrabuddhe, Informer: Mr. Bapat (Trustee) Details of prayer music:

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(A) Daily prayers – Kakad Arati at 6:30 am, Sayam Arati at 7:00 pm. (B) Occasional – Every Thursday - Arati at 6:00 pm to 7:00 pm and Shejarati at 8:45 pm. Keertan on Krishna Jayanti, Raam Navami (C) Annual festivals – Datta Jayanti, Krishna Jayanti, Raam Navami, Bidkar Maharaj Utsav in the month of March. Prayers: Stotra, Arati, Karunashtak, Abhang and Bhajan Method of prayer: All prayers are recited by the chorus of priest and devotees while playing Ghanta and Taas. Bhajan performances are mainly by ladies’ groups, but sometimes solo Bhajan performances also take place. Instruments: Ghanta, Taas, Pitch: Arati and Stotra in C#, Bhajan by ladies in A, Language of prayer: Marathi, Regional impact of music: Maharashtra, Influence of other music category: Hindustani Art music, Use of amplification: Only during festival. Architectural details: The shrine (15’ X 15’ X 10’), which was originally in a Wada, is now situated in a concrete structure of residential apartments where the sound gets resonated in positive manner. Number of attendants: Around 25 devotees gather on Thursday, while more than 150 visit during festivals.

6) Place of prayer: Shri Gopal Swami Yegawkar Samadhi

Religion & Cult: Hindu, Datta, Address: Near Racecourse, Camp, Pune 411001, Date of establishment: 1930, Founder: Some British soldier and Ramchandra Baba Arekar Details of prayer music: (A) Daily prayers – (-) (B) Occasional – Bhajan on every Saturday 9:30 pm (C) Annual festivals – Gopal Swami Samadhi Din, Datta Jayanti Prayers: Bhajan by group of male singers Method of prayer: Bhajans are sung in antiphonal method by the group of singers divided into two divisions.

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Instruments: Ektari, Pakhawaj, Dimdi, and Jhanjh, Pitch: D#, Language of prayer: Marathi, Regional impact of music: Maharashtra, Influence of other music category: Folk music, Use of amplification: No Architectural details: This is an open air shrine (40’ X 40’) with a sanctum (16’ X 16’ X 12’) having tin roof. The Bhajan takes place under the roofed area. Number of attendants: About 8-10 participate in the Bhajan.

7) Place of prayer: Shri Satguru Shankar Maharaj Samadhi Math

Religion & Cult: Hindu, Math, Address: Pune-Satara road, Dhankawadi, Pune 411043, Date of establishment: 1947, Founder: Bapurao Rudra Details of prayer music: (A) Daily prayers – Arati at 7:00 am, 12:00 pm and 6:30 pm. (B) Occasional – Arati at 7:45 pm on Durgashtami. (C) Annual festivals – Shankar Maharaj Samadhi Sohala (Vaishakha Shukla Pratipada to Vaishakha Shukla Ashtami, i.e. Durgashtami) - After Evening Arati, Bhajan, Keertan Pravachan along with Cultural programs by celebrity artists are organized from 7:00 pm to 10:00 pm. Guru Pournima, Datta Jayanti, Hanuman Jayanti. Prayers: Stotra, Arati, Bhajan Method of prayer: The congregation of devotees recites the Stotras and Aratis in chorus. Instruments: Ghanta is played during Arati, Pitch: Undefined, Language of prayer: Marathi, Regional impact of music: Maharashtra, Influence of other music category: Folk and Popular music, Use of amplification: Yes Architectural details: A sanctum with two adjoining halls where the congregation recites the prayer. Number of attendants: About 30-40 people gather for the Arati and more than 400 people visit during festivals.

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8) Place of prayer: Shri Saibaba Mandir

Religion & Cult: Sai Baba, Address: 83/84, Shivaji Nagar, Old Tophkhana, Rasane Chowl, Pune - 411005, Date of establishment: 1950, Founder: Nanasaheb Rasane, Informer: Balasaheb Paradeshi Details of prayer music: (A) Daily prayers – Arati at 12:30 pm, 7:30 pm and Shejarati at 10:00 pm. (B) Occasional – Bhajan at 8:00 pm on Thursday. Bhajan at 7:00 am on Laxmi pujan. (C) Annual festivals – Saibaba Festival, Datta Jayanti, Raam Navami (Bhajan till 5:00 pm after the afternoon Arati). Prayers: Stotra, Arati and Bhajan Method of prayer: The Arati and Bhajans are sung by the chorus of devotees. Instruments: Arati: Ghanta, Taas, Nagara. Bhajan: Harmonium, Taal, Dholak, Sambal, Chimta, Pitch: Arati: Undefined, Bhajan: C# and D#, Language of prayer: Marathi and Hindi, Regional impact of music: Marathi, Influence of other music category: Folk Music, Use of amplification: Yes Architectural details: Hall of about 50' x 40' x 20' Number of attendants: 150

9) Place of prayer: Vasudew Niwas

Religion & Cult: Hindu, Datta, Address: Erandawana, Off Karve Road, Pune 411004, Date of establishment: 1965, Founder: Gulawani Maharaj, Informer: Anand Kulkarni Details of prayer music: (A) Daily prayers – Arati at 12:00 pm, Sayam Arati at 7:30 pm (B) Occasional – Bhajan at 4:30 pm - by male singers on every Tuesday and on Monday and Thursday by female singers. (C) Annual festivals – Datta Jayanti, Guru Pournima, Narayan Swami Punyatithi and Jayanti, Shakaracharya Jayanti, Lokatirth Punyatithi and Jayanti, Vasudewanand Saraswati Punyatithi and Jayanti, Navaratri, Guru Dwadashi, Gulawani Maharaj

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Punyatithi and Jayanti, Nrsimha Swami Jayanti, Guru Pratipada, Kawishwar Maharaj Punyatithi and Jayanti, Bhagawat Saptah. During Utsav, there are Bhajan performances from 4:00 pm to 6:00 pm, Keertan at 6:00 pm and Arati at 8:00 pm. Prayers: Arati, Stotra, Shloka, Bhajan, Keertan. Method of prayer: Stotra recitation is performed by the priest alone; Arati and Bhajan are sung in chorus voice of devotees. Instruments: Arati – Ghanta and Taas. Bhajan and Keertan - Tabla, Taal, Jhanjh, Harmonium, Pitch: Bhajan in G# and C#, Language of prayer: Marathi and Sanskrit, Regional impact of music: Marathi, Influence of other music category: Art Music, Use of amplification: Only for Bhajan and Keertan Architectural details: The sanctum has an adjoining octagonal hall where the sound resonates in positive way. Number of attendants: 30-40 daily. More than 100 during festival

10) Place of prayer: Shri Brahmachaitanya Gondawalekar Maharaj Math

Religion & Cult: Hindu, Vaishnav, Address: 504, Mitramandal Chowk, Parvati, Pune 411009, Date of establishment: 1968, Founder: Shriram Maharaj Kulkarni Details of prayer music: (A) Daily prayers – (B) Occasional – Arati at 7:00 pm to 9:30 pm on every Thursday only. There is Sāmudāyik Nāmajapa (rosary sessions) and Bhajan at 8:00 pm to 10:00 pm on every Paurnima. (C) Annual festivals – Gudhi Pādwa to Rām Navami (9 days), Chaitra month (Uti Puja – applying sandal paste to Gods), Sadguru Shrirām Mahāraj Punyatithi Utsav (Āshādh Shuddha Tritiya), Guru Paurnima, Sadguru Shriram Maharaj Jayanti Utsav (Gokulashtami, in Shrāvan), Deepotsav (Deva Dipawāli), Shri BrahmaChaitanya Gondawalekar Maharaj Punyatithi (Margashirsh Krishna Dashami) Prayers: Shloka, Stotras (Vishnu Saharsanaam, Ram Hriday, etc.), Sawaya, Arati, Bhajan, Gawlan, etc.

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Method of prayer: The prayers are recited by the chorus of priest and devotees. Instruments: Ghanta is used for Arati, and Bhajan is accompanied by Harmonium, Pakhwaj, Dholki and Taal, Pitch: D#, Language of prayer: Marathi and Sanskrit, Regional impact of music: Maharashtra, Influence of other music category: Hindustani Art Music, Use of amplification: Yes Architectural details: This is a temple complex with 3 halls and the sanctum is situated in a cement hall (20’ X 30’ X 15’) built of cement. Number of attendants: Regular attendance of around 25 persons and 200during the festivals.

11) Place of prayer: Sharada Math

Religion & Cult: Hindu, Ramkrishna Paramhauns, Address: Sinhagad Road, Near Rajaram Bridge, Pune 411030, Date of establishment: 1975, February, Founder: Ramkrishna Mission, Informer: Sadhwi Sandhya Didi Details of prayer music: (A) Daily prayers – Evening prayer at 6:30 pm (B) Occasional – On Saturday, Sunday and Tuesday - Bhajan after evening prayer. Sankeertan on Ekadashi (C) Annual festivals – Ram Janma, Krishna Janma, Ramakrishna Jayanti, Sarada Jayanti Prayers: Stotra and Arati, Bhajan Method of prayer: A group of four female devotees sing Arati in chorus voice, which is followed by devotees in antiphonal method. Bhajans are sung by all devotees. Instruments: Harmonium, Ghanta, Manjira, Gong, Pitch: A, Language of prayer: Sanskrit, Bangla. (On some occasions, prayers in Marathi are sung too), Regional impact of music: Bengal, Influence of other music category: Hindustani Art Music (Dhrupad), Use of amplification: Yes Architectural details: Hall with good acoustics (40’ X 35’ X 20’) Number of attendants: A priest and mainly female 15-20 devotees

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12) Place of prayer: Paramarth Niketan (Kalawati Mata Math)

Religion & Cult: Hindu, Vaishnav, Address: 1000/4, Navi Peth, Near Vaikunth Smashanbhoomi, Pune 411030, Date of establishment: 1978, Founder: Siddhakala Trust Details of prayer music: (A) Daily prayers – Bhajan at 7:00 am to 8:30 am, 4:00 pm to 5:30 pm and 8:00 pm to 9:00 pm. (B) Occasional – Bhajan at 10:30 am to 12:30 pm on Sunday. Bālopāsanā (prayer sessions for children) is conducted on every Sunday 8:30 am. There is a special Bhajan coaching session on the first Sunday of every month from 12:30 pm to 4:30 pm. (C) Annual festivals – Mahashivaratri, Krishna Janma, Dashahara, Chaturmaas Ekadashi, Kalawati Mata Jayanti and Punyatithi. Prayers: Stotra recitation, Arati and Bhajan Method of prayer: Group of male and female devotees sing the Bhajans in chorus voice. The Stotras are sung in tunes of traditional Sanskrit Chhandas. There is a system of Bhajans led down by Mata Kalavati. There are eight Bhajans assigned for each day of the week and hence, a total of 56 Bhajans are sung throughtout the week. In addition, there are occasional Bhajans. These Bhajans, written by saint poets, are composed by Mata Kalavati in various Ragas. Instruments: Tabla, Taal, Harmonium, Pitch: Bhajan in G# and C#, Language of prayer: Marathi and Hindi, Regional impact of music: Marathi, Influence of other music category: Hindustani Art Music, Use of amplification: Yes Architectural details: Hall (40’ X 70’ X 20’) with open spaces around which has a good acoustics. Number of attendants: Daily 100-125

13) Place of prayer: Shri Akkalkot Swami Samarth Math & Gurudew Datta Mandir

Religion & Cult: Hindu, Swaroop Sampraday, Address: 1734, Sadashiv Peth, Near Narad Mandir, Pune 30, Date of establishment: 1985

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Details of prayer music: (A) Daily prayers – Arati at 6:30 am, Sayam Arati at 7:00 pm, Shej Arati at 8:00 pm. (B) Occasional – On every Thursday, there is Arati at 7:00 pm, followed by Gayan Sewa, i.e. recital of Bhajan or Art music for an hour and then Shej Arati takes place at 8:47 pm. On every Sunday, there is Samuha Japa (group recitation of Mantras) after Sayam Arati. Kakad Arati is performed during the month of Kartik at 6:00 am. (C) Annual festivals – Datta Jayanti, Guru Paurnima, Swami Prakat Din, Swami Punyatithi, Murti Sthapana Dina. Prayers: Arati, Stotra, Shloka, Bhajan, Keertan. Method of prayer: All prayers are recited by the devotees in chorus voice. Instruments: Ghanta for Arati. Tabla, Taal, and Harmonium are used during Bhajan and Keertan, Pitch: Undefined for Arati. A and D for Keertan, Bhajan, Language of prayer: Marathi, Sanskrit, Regional impact of music: Marathi, Influence of other music category: Art Music, Use of amplification: Only for Keertan Architectural details: A small hall (15’ X 20’ X 15’) with a flat, tin roof. It is acoustically not good. Number of attendants: A priest, 8-10 female devotees and 5-8 male devotees. The number goes to 50-75 during festivals.

14) Place of prayer: Dindori Pranit Swami Samarth Math

Religion & Cult: Hindu, Swaroop Sampraday, Address: Near Sarasbaug, Sinhagad Road, Pune 411030, Date of establishment: 1986, Founder: Mr. Awate Details of prayer music: (A) Daily prayers – Bhupali at 8:00 am, Arati at 10:30 am and 6:30 pm. (B) Occasional – Pothi Parayan on every Thursday (C) Annual festivals – Datta Jayanti, Guru Paurnima Prayers: Stotra, Shloka, Arati and Bhajan Method of prayer: All prayers are recited by the group in chorus along with the track played on a CD.

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Instruments: Ghanta, Taal, Pitch: Undefined, Language of prayer: Marathi and Sanskrit, Regional impact of music: Marathi, Influence of other music category: Folk Music, Use of amplification: CD of Arati and Stotra is played on Loudspeakers Architectural details: There are two floors - the sanctum is on the second floor and there is a separate prayer hall on the first floor. Both halls are rectangular and the acoustics is not good. Number of attendants: Around 30 daily.

15) Place of prayer: Shri Adya Shankara Mandir

Religion & Cult: Hindu, Vaidik, Address: Near Savarkar Statue, Sarasbaug, Pune 411030, Date of establishment: 1987, Founder: Shri Kanchi Kamakoti Peetam, Informer: Shri Ram Mohan Details of prayer music: (A) Daily prayers – Dhoopa-Arati (without singing) at 8:30 am and 6:45 pm. (B) Occasional – Lalita Sahasranaam Stotra recitation on every Friday, 6:00 pm. During some occasions, such as the Skanda Shashthi, a concert of Thiruppugaz (songs in praise of Murugan, based on Carnatic Art music) are presented. (C) Annual festivals – Kartik Shuddha Panchami Prayers: Stotra, Shloka and Vedic hymns. Method of prayer: The prayers are recited by the priest alone. Instruments: No instruments (not even clapping) are used during daily prayer. Electronic Tanpura, Manjira are used for Thiruppugaz concert, Pitch: Undefined, Language of prayer: Sanskrit, Regional impact of music: Kerala, Influence of other music category: (-), Use of amplification: No Architectural details: There is sanctum and adjoining hall, surrounded by the residential cubicles for the students learning Vaidiki. Number of attendants: 10-12

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16) Place of prayer: Ramakrishna Math

Religion & Cult: Hindu, Ramakrishna Paramahansa, Address: Near Dandekar Bridge, Sinhagad Road, Pune 411030, Date of establishment: 1989 March 29, Founder: Ramakrishna Mission, Informer: Swami Rameshwaranand Details of prayer music: (A) Daily prayers – Morning prayers - 5:00 am to 6:00 am - Dhoop arati, Karpur arati and Geeta Chanting. Evening prayer - Sunset time - 6:30 pm or 7:00 pm to 8:00 pm (B) Occasional – Ram-Naam-SanKeertan on every Ekadashi (C) Annual festivals – Ramakrishna Jayanti, Guru Paurnima, Birth Centenary of 16 disciples of Ramakrishna Paramahansa. Prayers: Stotra, Arati (Arati of Panchatattva, Ramakrishna, Shakti) Method of prayer: Major part is sung by a group of 4 male priests, who are well-versed in music. They are accompanied by 4 instrument players. The devotees join them only for Gajar. There are some sections with antiphonal singing. The main prayer - Ramakrishna Stavan, is in Dhrupad style, in ChauTaal (last stanza in Keherva) composed by Swami Vivekananda. Other prayer, too are in Dhrupad style, but without rhythmic accompaniment. The Ragas that are used in the prayers are Kalyan, Bhairavi, Piloo, ShivRanjani, etc. Instruments: Harmonium, Ghanta, Tabla, Triangle, Gong, Pitch: A#, Language of prayer: Sanskrit, Bangla (on special occasions, prayers in other languages such as Marathi, Hindi are also sung.), Regional impact of music: Bengal, Influence of other music category: Hindustani Art Music (Dhrupad), Use of amplification: Yes Architectural details: Huge hall, with cement walls and an oval cupola. Sound resonates in a positive manner. Number of attendants: Around 30-40 for daily prayers and more than 100 on special occasions.

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17) Place of prayer: Shri Akkalkot Swami Samarth Math (Trust)

Religion & Cult: Hindu, Swaroop Sampraday, Address: Ganj Peth, Pune 411002, Date of establishment: 1995 May 02 (Akshayya Tritiya), Founder: Virendra Kirad, Informer: Deshpande Guruji Details of prayer music: (A) Daily prayers – Arati at 8:30 am and 8:00 pm and Shejarati at about 9:00 pm everyday (specific time unknown). (B) Occasional – Bhajan of male singers at 9:30 pm to 11:00 pm on every Thursdays. Bhajan is performed by a group of ladies in the afternoon, on every alternate Thursday. (C) Annual festivals – Chaitra vadya Trayodashi to Vaishakha Akshayya Trutiya Festival - Bhajan performance in the morning and evening along with Classical music programs or Drama in the night during this festival. Datta Jayanti, Vyas Pournima, Deepotsav in Diwali. Prayers: Shloka, Arati, Bhajan Method of prayer: All devotees recite the prayers in chorus. Instruments: Arati is accompanied by Ghanta. Nagara is played on Thursday before the Bhajan, Pitch: Undefined, Language of prayer: Marathi, Regional impact of music: Marathi, Influence of other music category: Folk and popular music, Use of amplification: Yes Architectural details: A sanctum with huge hall and courtyard in the front. Number of attendants: Daily about 50 and more than 300 during festival

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3.8 Folk deities:

There are shrines of folk deities such as Mhasoba, Mari Aai, Bolhai, Jakhai, etc. in Pune.

Most of these places don’t have an elaborate prayer rituals and musical practice.

However, during the research work, it was observed that the element of music is present in the prayer at some temples of the folk deities, especially Khandoba. Here is the detailed account of such places of prayer –

1) Place of prayer: Mhalasakant Dewasthan or Khandoba Mhalasa Mandir

Religion & Cult: Hindu, Khandoba, Address: Manorama Apartments, Gawali Lane, near Vijayanand Theatre, Budhawar Peth, Pune 411002, Date of establishment: 1906, Founder: Vishnu Balwant Bhave, Informer: Subodh Bhave Details of prayer music: (A) Daily prayers – Arati at 9:00 am and 7:30 pm (B) Occasional – Every Paurnima and Navami (C) Annual festivals – Khandoba festival for 6 days before Champa Shashthi. Prayers: Arati, Bhajan, Keertan, Jagran Gondhal, songs of Waghya-Murali Method of prayer: Arati is recited by the priest and devotees in chorus voice. Bhajans are presented by the groups of male and female devotees. During the festival of Champa Shashthi, Jagran Gondhal is performed by the Gondhali community and Waghya-Murali performs the songs. There are performances of Hindustani art music too during the festival. Instruments: Ghanta and Taas are used for daily Arati. Bhajans are recited with an accompaniment of Harmonium, Tabla, Pakhawaj, Ghunghru and Taal. Gondhal and Waghya-Murali songs are accompanied by Sambal, Tuntune and Manjira. Nagara and Chaughada are also played during festivals, Pitch: Undefined, Language of prayer: Marathi, Regional impact of music: Marathi, Influence of other music category: Folk music and Hindustani Art music, Use of amplification: Only during festival

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Architectural details: The temple is situated in the basement of a residential apartment, which was originally a Wada. The temple has an adjoining hall (20’ X 12’ X 10’) where the music making takes place. Number of attendants: Regular attendance of 40-50 and more than 250 during festival

2) Place of prayer: Khandoba Mandir

Religion & Cult: Hindu, Khandoba, Address: Pumping Station premises, near Kumbhar Wada, Kasba Peth, Pune 411002, Date of establishment: 22nd January 1922 Details of prayer music: (A) Daily prayers – Arati at 9:00 am and 7:30 pm (B) Occasional – Every Paurnima (C) Annual festivals – Khandoba festival for 6 days before Champa Shashthi. Prayers: Arati, Jagran Gondhal and songs of Waghya-Murali Method of prayer: Arati is recited by only the priest. Gondhali and Waghya-Murali performers sing the folk songs during the festival of Champa Shashthi. Instruments: Ghanta are used for daily Arati. Nagara is played during the Sayam Arati. Gondhal and Waghya-Murali songs are accompanied by Sambal, Tuntune and Manjira, Pitch: Undefined, Language of prayer: Marathi, Regional impact of music: Marathi, Influence of other music category: Folk music, Use of amplification: No Architectural details: This is a small shrine of about 8’ X 6’ X 12’. Number of attendants: Regular attendance of 8-10 and more than 150 during festival

3) Place of prayer: Khandoba Mandir

Religion & Cult: Hindu, Khandoba, Address: Plot 11, Near Sawarkar Statue, Sarasbaug, Pune 30, Date of establishment: 2003, Founder: Kadepathar Sewa Mandal Trust, Informer: Mr. Kondhalkar, Manager Details of prayer music: (A) Daily prayers – Bhupali at 5:30 am, Arati at 7:00 am and 7:30 pm

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(B) Occasional – Chaitra Padawa, Chaitra Paurnima, Vasant Panchami, Somavati Amavasya, Gan-Puja, Amavasya of every month. (C) Annual festivals – Khandoba festival for 6 days before Champa Shashthi. Also Navaratri, Datta Jayanti are celebrated. Prayers: Arati, Bhajan, Jagran Gondhal, songs of Waghya-Murali Method of prayer: Arati is recited by the priest and devotees in chorus voice. During the festivals, Bhajans are presented by the groups of female devotees from 2:00 pm to 4:00 pm. Jagran Gondhal is performed by the Gondhalis. Waghya-Murali performs the songs of Khandoba. Instruments: Ghanta and Taas are used for daily Arati. Bhajans are recited with an accompaniment of Ghunghru and Taal. Gondhal and Waghya-Murali songs are accompanied by Sambal, Tuntune and Manjira. An Electronic Nagara is played during festivals, Pitch: Undefined, Language of prayer: Marathi, Regional impact of music: Marathi, Influence of other music category: Folk music, Use of amplification: Only during festival Architectural details: The temple (30’ X 30’ X 15’) is built with cement, and has bad acoustics. Number of attendants: Regular attendance of 15-20 and more than 400 during festival

4) Place of prayer: Mhasoba Mandir

Religion & Cult: Hindu, Address: Dattawadi Chowk, Opposite Witthal Rakhumai Mandir, Dattawadi, Pune 30, Date of establishment: early 20th century, Founder: Vatandars of Dattawadi Details of prayer music: (A) Daily prayers – Arati at 8:30 pm (B) Occasional – Paurnima and Amavasya of every month. (C) Annual festivals – Somavati Amavasya. Prayers: Arati, Jagran Gondhal

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Method of prayer: Arati is recited by the priest alone. During the festival, Jagran Gondhal is performed by the Gondhalis. Instruments: Ghanta and Damru are used for daily Arati. Gondhal is accompanied by Sambal, Tuntune and Manjira, Pitch: Undefined, Language of prayer: Marathi, Regional impact of music: Marathi, Influence of other music category: Folk music, Use of amplification: No Architectural details: This is a small shrine (15’ X 15’ X 10’) built with cement, having bad acoustics. Number of attendants: Regular attendance of 5-7 and more than 50 during festival

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3.9 Hindu temples belonging to non-Marathi communities:

Various communities from different parts of the country migrated to Pune, basically for trade and education. Pune has many temples of the communities from Gujarat and

Rajasthan, as they settled here in the Peshwa period. During the period of the British Raj and later, after Indian Independence, the number of non-Marathi communities in Pune increased. The temples belonging to communities from Punjab, Karnataka, Kerala, Tamil

Nadu, and Bengal were mostly established after Indian independence. At these places of prayer, one gets to observe a different way of prayer rituals and prayer music. The prayer music at these places has a flavor of regional music cultures and hence, it sheds light on the musical diversity in devotional music traditions.

Here are the details of places of prayer belonging to non-Marathi communities –

1) Place of prayer: Shri Hariray Ji ki Haweli

Religion & Cult: Hindu, Pushtimargi Sampraday, Address: 1137, Vallabhacharya Chowk, Kasba Peth, Pune 411011, Date of establishment: Circa 1780, Informer: Chotalal Nathalal Modi, Manubhai Newaskar Details of prayer music: (A) Daily prayers – Mangal Arati at 7:30 am, Raajbhog at 11:30 am and Sayam Arati at 5:30 pm (B) Occasional – Sharad Paurnima, Prabodhini Ekadashi, Radhashtami, Rama Navami, Gangadashami, Vaman Dwadashi, Vasant Panchami (C) Annual festivals – Gokulashtami Utsav, Akshay Tritiya, Dashahara, Holi, Gopashtami Prayers: Stotra, Arati, Pada by Ashtachhap saint-poets, Method of prayer: The recitation of Priest is followed by devotees in Arati. After Arati, a singer sings Haweli Padas prescribed for the specific day – this is solo singing with

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self-accompaniment on Harmonium and Tanpura. The songs belong to the Art music tradition of Haweli Sangeet and are set to Ragas according to Raga-Samay Chakra. The tradition of Haweli Sangeet is not seen here in its full mode and whatever little in practice is also diminishing, due to a lack of interest shown by the community itself. For example, usually a Pakhawaj player accompanies the singer in Haweli Sangeet; but no Pakhawaj player is available here and so, the singer sings without any rhythmic accompaniment. Special songs related to seasonal celebrations were not observed here. There was a custom of playing Shehnai and Chaughada in the morning and evening, which has discontinued for last several decades and is replaced by broadcasting of recorded CD track of Shehnai in the morning. Earlier there was a tradition of inviting Keertaniya-s from Surat, Rajkot, Ahmedabad, Navsari, Baroda, and Nathadwara for Haweli Keertan. However, this too has discontinued in last few years. A group of ladies sing Gujrathi Bhajans in folk style, in the courtyard, without any instrumental accompaniment. Instruments: Tanpura, Jhanj, Pakhawaj, Pitch: Stotra and Arati have undefined pitch. Haweli Pada is sung in C#, ladies sing the folk style Bhajans in G#, Language of prayer: Brij, Gujrathi, Regional impact of music: Gujarat, Vrindavan, Influence of other music category: Hindustani Art music, Use of amplification: The recorded track of Shehnai is played on loudspeaker in the morning. It is also used for the Keertan during festivals. However, it is not used for daily prayer. Architectural details: This is a very beautifully decorated temple with wooden carvings and wall paintings. There is a prayer hall (25’ X 25’ X 20’) in front of the sanctum. Number of attendants: About 10-15 for daily prayer and more than 50 during festival.

2) Place of prayer: Shri Swami Narayan Mandir

Religion & Cult: Hindu, Swami Narayan, Address: Jew Lane, Rasta Peth, Pune 11, Date of establishment: 1962 (reconstructed in 1993) Details of prayer music:

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(A) Daily prayers – Morning Prayer at 7:30 am and evening prayer at 6:30 pm (B) Occasional – Bhajan or Keertan at 9:00 pm on every Sunday and Ekadashi (C) Annual festivals – Janmashtami Prayers: Arati and Bhajans prescribed for the day Method of prayer: The priest doesn’t sing Arati, but recites Mantras and Japa in his mind. Arati and Bhajans are sung by the congregation of devotees in chorus. Instruments: Harmonium, Dholak, Jhanjh, electric Nagara, Pitch: D# for Bhajan, Language of prayer: Gujrathi, Regional impact of music: Gujarat, Influence of other music category: Folk music, Use of amplification: No Architectural details: This two storied temple has a section for male devotees on the ground floor and section for female devotees is located on the first floor. Both the halls are about 30’ X 20’ X 15’ in size. The acoustics is good. Number of attendants: 10-15 for daily Arati.

3) Place of prayer: Shri Satyanarayan Bhagavan ka Mandir

Religion & Cult: Hindu, Vaishnav, Address: 892, Raviwar Peth, Pune - 02, Date of establishment: 1962 Details of prayer music: (A) Daily prayers – Arati at 9:00 am and 7:00 pm (B) Occasional – No (C) Annual festivals – Krishna Yaag on Rishi Panchami. Prayers: Stotra and Arati Method of prayer: Only the priest recites the Stotra and Arati – devotees attend it in passive manner. Earlier Bhajan performances used to take place every week, but this has discontinued now. Instruments: Only Ghanta, Pitch: Undefined, Language of prayer: Hindi, Regional impact of music: Gujarat, Influence of other music category: Folk music, Use of amplification: No Architectural details: A sanctum and anterior hall (12’ X 20’ X 10’).

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Number of attendants: A floating population of about 20 visits the temple during Arati.

4) Place of prayer: Balaji Mandir

Religion & Cult: Hindu, Vaishnav (Gujarat), Address: 14, Narayan Peth, Anna Athawale road, Pune - 411030, Date of establishment: 1970 (Reconstructed in 2014), Name of founder: Shri Balaji Mandir Trust Details of prayer music: (A) Daily prayers – Arati at 8:00 am and 8:00 pm (B) Occasional – No (C) Annual festivals – Balaji Utsav, Krishna Janmashtami, Dashahara, Deepotsav. Prayers: Stotra, Arati Method of prayer: The priest recites the Stotra and Arati alone, while the devotees listen to it passively. Instruments: No instrument is used, Pitch: Undefined, Language of prayer: Hindi, Regional impact of music: Gujarat, Influence of other music category: (-), Use of amplification: No Architectural details: The small sanctum (15’ X 10’ X 12’) has an open to sky Sabha Mandap where the congregation gathers. Number of attendants: A floating population of about 40 visits the temple during Arati.

5) Place of prayer: Maheshwari Samaj Balaji Mandir

Religion & Cult: Hindu, Vaishnav, Address: 1449, Kasba Peth, Pune 411030, Date of establishment: 2007 Name of founder: Shri Maheshwari Balaji Mandir Trust Details of prayer music: (A) Daily prayers – Arati at 7:15 am and 7:00 pm (B) Occasional – Arati on every Ekadashi

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(C) Annual festivals – Malamaas / Dhundhurmaas Utsav, Balaji Utsav on Margashirsha Krishna Ashtami Prayers: Stotra and Arati Method of prayer: The Stotra and Arati are recited by the priest alone. Instruments: Ghanta and an electric Nagara are played during the Arati. The Bhajan is sung with an accompaniment of Dhol, Pitch: Undefined, Language of prayer: Hindi, Gujrathi and Marathi, Regional impact of music: Gujarat, Influence of other music category: Popular music, Use of amplification: Only during festival Architectural details: This is a cozy temple (20’ X 20’ X 12’) with a sanctum and a Pradakshina Path. Number of attendants: About 10 for daily Arati and more than 150 during the festival.

6) Place of prayer: Maheshwari Samaj Radha Krishna Mandir

Religion & Cult: Hindu, Vaishnav, Address: 1448, Kasba Peth, Pune 411030, Date of establishment: 1930, Name of founder: Maheshwari community, Informer: Rameshchandra Vyas Details of prayer music: (A) Daily prayers – Mangal Arati at 5:30 am and Singaar Arati at 7:30 am, followed by Bhajan for an hour. Sayam Arati at 7:30 pm (B) Occasional – Kakad Arati in month of Kartik at 5:00 am to 6:30 am (C) Annual festivals – Dhanurmaas Utsav, Krishna Janmashtami Prayers: Stotra, Arati, Bhajan Method of prayer: The Stotra and Arati are recited by the chorus of priest and devotees. The Bhajans are sung by a group of male singers in responsorial method. Instruments: Ghanta and Taas are played during the Arati. The Bhajan is sung with an accompaniment of Dholak, Dhol and Jhanjh. Electric Nagara is played during festival, Pitch: Undefined, Language of prayer: Hindi, Gujrathi, Regional impact of music: Gujarat, Influence of other music category: Popular music, Use of amplification: Only during festival

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Architectural details: The sanctum and prayer hall (30’ X 20’ X 12’) are not acoustically designed. Number of attendants: About 15 for daily Arati and more than 200 during the festival.

7) Place of prayer: Daulat Ram Mandir

Religion & Cult: Hindu, Vaishnav, Address: Mukund Nagar, Gultekdi, Pune 411037, Date of establishment: 1982, Name of founder: Shri Mukund Bhavan Trust Details of prayer music: (A) Daily prayers – Mangal Arati at 7:30 am and Singaar Arati at 7:30 am, followed by Bhajan for an hour. Sayam Arati at 7:30 pm (B) Occasional – Morning Bhajan during Dhanurmaas. (C) Annual festivals – Ram Janmotsav, Hanuman Jayanti, Krishna Janmashtami. Prayers: Stotra, Arati, Bhajan Ashtapadi by Jayadev are recited here as a part of daily prayer which is a unique feature of this temple. Method of prayer: The Stotra and Arati are recited by a chorus of 3 priests; the audience does not actively participate in the singing of Arati. The Bhajans are sung by a group of female singers in responsorial method. The concerts of Bhajans by professional and amateur singers are organized during the festivals. Instruments: Ghanta and Taas are played during the Arati. An Electric Nagara is also played before the daily Arati. During the Bhajan concerts, the Harmonium, Tabla, Dholak, Jhanjh, electronic keyboard, flute are used, Pitch: Mostly C#, Language of prayer: Hindi, Regional impact of music: Gujarat, Influence of other music category: Art music, Haweli Sangeet, Use of amplification: Sound system is used during the morning prayer, but not for the evening prayer. Architectural details: The sanctum has three sections with idols of Rama-Sita- Lakshman, Radha-Krishna and Balaji. The marble built prayer hall (60’ X 90’ X 30’) has good acoustics. Number of attendants: About 15 for daily Arati and more than 200 during the festival.

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8) Place of prayer: Shri Ayyappa Mandir

Religion & Cult: Hindu, Ayyappa Address: 198, Rasta Peth, Pune 411011, Date of establishment: 1956, Name of founder: Shri Vimochananand, Ayyappa Dharma Parishad Details of prayer music: (A) Daily prayers – Evening prayer at 7:00 pm (B) Occasional – There is SanKeertan (recitation of holy name) on every second and forth Saturdays. Puja is offered by devotees wish on Sundays, with recitation of Mantra and Prasadam. (C) Annual festivals – Makarvilakku festival (for two months), Navaratri, Onam, Pratishtha Dina (temple foundation day) Prayers: Only Sanskrit Stotras are recited during daily rituals. Besides, there are special sessions of ‘Narayaneeyam’ and ‘Akhanda Naamam’ in which a group of devotees recite Sanskrit and Tamil Stotras. During the festivals, many concerts are organized covering a wide range of music such as Ayyappa Ashtapadi, Thiruppugaz, Marathi Bhajan, Carnatic and Hindustani Art music – vocal and instrumental music in the both styles, etc. Though these concerts are not the integral part of the prayer rituals, they are worth mentioning in this case, as this temple is considered to be a hub of devotional and art music in this part of the city. Method of prayer: The prayers in the daily rituals are recited by the priest alone. The devotees participate in the ‘Naam Japam’ recitations. Instruments: No instruments, other than Ghana, are used for the daily prayer. But various instruments such as Veena, Violin, Mridangam, Khanjira (for Carnatic music), and Harmonium, Tabla, Pakhawaj, Taal (for Hindustani music and Marathi Bhajan) are used in the performances during special occasions, Pitch: Undefined for Stotras, Language of prayer: Sanskrit, Tamil, Regional impact of music: South Indian, Influence of other music category: Carnatic Art Music, Use of amplification: Sound system is used for special concerts. Architectural details: There is a Ranga-Mandapam, hall for performance (20’ X 30’ X 30’) in the front side of the sanctum (8’ X 8’ X 10’) and Pradakshina Path.

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Number of attendants: There is floating population of about 50 who visit daily. More than 150 people congregate during festivals and special occasions.

9) Place of prayer: Shree Hari Hara Bhajana Samajam (Madrasi Ganapati Mandir)

Religion & Cult: Hindu, Ganapatya, Address: Plot No 14, Near Apollo talkies, Rasta Peth, Pune 411011, Date of establishment: 1935, Name of founder: Sardar Raste. (This temple was originally founded by Sardar Raste in early 19th century. ‘Shri Hari Hara Bhajan Samajam’, an organization of Tamil residents in Pune was established in 1925. The organization started conducting Bhajan at this temple from 1935. In 1942, Sardar Raste handed over the management of this temple to the organization. Hence, this temple is now popularly known as ‘Madrasi Ganapati’.), Informer: Vaidyanathan Ganapati Ayyar, Shri Rajamani Details of prayer music: (A) Daily prayers – Arati at 9:15 am and 8:45 pm. (B) Occasional – Bhajan on Saturday from 8:00 pm to 10:00 pm, Thirupugal classes on Sunday at 3:00 pm. (C) Annual festivals – Ganesh Chaturthi, Ram Navami, Balaji Utsav, Kartik Puja, Navaratri and Mahashivratri. Prayers: Stotras, Arati, Thirupugal, Keertanam and Bhajanam in Carnatic style. Method of prayer: The Stotras, Shlokas are recited by the priests. Arati and Bhajans are sung by the congregation. During Dhanurmaas, there is special prayer ritual in the morning, followed by Bhajan for one hour. Tyagaraja festival (two day festival with concerts presenting Tyagaraja Kritis, i.e. music compositions by great saint musician Tyagaraja) is held in the month of January. Musico-theatrical presentations called as Radha-Kalyanam, Seeta-Kalyanam, Rukmini-Kalyanam and Valli-Kalyanam are performed in the months of January, May, August and November respectively. There are concerts of Thiruppugaz, Keertanam, and Sankeertanam on several occasions.

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This temple is known as a centre of Carnatic music in Pune. Many students are enrolled for regular classes of music here and get the opportunity of performing and listening to Carnatic Art music. Hence, this temple has certainly contributed for the development of the music culture of Pune. Instruments: Ghanta is played during the Arati recitation. The cymbals and Ghugharu are used in Thiruppugaz recital. Mridangam, Khanjira and Shruti box are used for Keertanam. Veena and Flute concerts also happen in the temple, Pitch: Undefined for Arati. Thiruppugaz are mostly sung in G, Language of prayer: Sanskrit and Tamil. Sometimes Marathi Arati and Bhajans are recited, Regional impact of music: Tamil, Influence of other music category: Art Music, Use of amplification: Sound system is appointed during the festivals and concerts. Architectural details: This is a huge temple hall in which there are five separate sanctums with idols of Ganapati, Balaji and Padmavati, Shiva – Parvati and Kartikeya, and Navagraha. The pinnacle is decorated in typical south Indian ‘Gopur’ style architecture. Number of attendants: More than 40 people visit the temple daily and during the festivals, there is congregation of more than 500.

10) Place of prayer: Shri Ahobil Math Balaji Mandir

Religion & Cult: Hindu, Vaishnav/Alawar, Address: 116/11, Sus Road, Pashan, Pune 411021, Date of establishment: 2002 August, Name of founder: Ahobil Math, Informer: Ravi (Manager) Details of prayer music: (A) Daily prayers –  Nadaswaram playing from 7:00 am to 7:15 am,  Abhishek and Nadaswaram from 8:30 am to 9:00 am,  Bhoga Puja and Nadaswaram from 11:30 am to 11:45 am,  Sayam Puja and Nadaswaram from 5:30 pm to 6:15 pm,  Nadaswaram for Shayanam at 9:00 pm to 9:15 pm.

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All Arati-s and rituals are done before sunrise in the Shunya Maasa. (B) Occasional – Procession with Nadaswaram on every Ekadashi, Paurnima, Amavasya and Shravani Paurnima. (C) Annual festivals – Brahmotsavam is biggest annual festival, besides the monthly festivals all over the year. There is Akhand Veda-Parayan during festivals. Prayers: Vedic hymn, Stotras. Method of prayer: Only priests recite the Stotras and Vedic hymns. None of the devotees participate in actual prayer. Instruments: The priests play a Ghanta during the Puja. During the music service to the God, Nadaswaram is played with an accompaniment of Tavil. This instrumental music is an important part of the prayer music in this temple. The two musicians, who play Nadaswaram and Tavil, originally hail from the Tanjavur district in Tamil Nadu and are appointed on salaried jobs. They perform Carnatic Art music in the five sections of the day. They have a prescribed set of Ragas and compositions to perform in the five timeslots. For example, here is a schedule of performance of a day –  7:00 am - Raga Bhupalam and Varnam in Mohanam  8:30 am - Raga Dhanyasi and Kalyani  11:30 am - Raga Sorathi  5:30 pm – Raga Poorvikalyani and Madhyamavati  9:00 pm – Raga Neelambari. Similarly, there is a prescribed set of music to be performed for the whole year. Along with the solo performance of Nadaswaram, the Tavil player also gets a separate slot for solo presentations wherein he demonstrates the complex Tala system in Carnatic music. Pitch: D#, Language of prayer: Sanskrit. Alawar Pada-s in Tamil are recited by the groups of ladies during the festival, Regional impact of music: Tamil Nadu, Influence of other music category: Carnatic Art music, Use of amplification: No Architectural details: The temple is situated on heighted plinth. There are two Garbha Grihas (12’ X 12’ X 12’) and an adjoining open-air Ranga-mandapam (30’ X 30’) where the Nadaswaram and Tavil performance takes place. The Stotras are recited in the

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sanctum. There is a Pradakshina Path on which the precession takes place and wherein the devotees recite Stotras in their mind. Number of attendants: Around 30-40 people visit during a day, and more than 200 attend the festival.

11) Place of prayer: Shri Thirumal Murugan Mandir

Religion & Cult: Hindu, Murugan, Address: Plot No 43, Aundh Gaon, Pune 411007, Date of establishment: 1942, Name of founder: Madhavi Amma, Thirumal Murugan Seva Trust, Informer: Grand-daughter of Madhavi Amma Details of prayer music: (A) Daily prayers – Puja at 9:30 am and 8:00 pm (B) Occasional – No (C) Annual festivals – Thai Pusam, Panguni Uthiram, Skanda Shashthi festival. Prayers: Stotras in Sanskrit and Tamil Method of prayer: The prayers are recited by the priest only. Earlier there was tradition of having Bhajan and Nadaswaram recitals during festivals, but this has been discontinued in last two decades the after passing away of the owner. Instruments: No instrument is used here, Pitch: Undefined, Language of prayer: Sanskrit, Tamil, Regional impact of music: (-), Influence of other music category: Primitive music, Use of amplification: No Architectural details: In front of the main sanctum, there is idol of peacock and panel of Navagraha. There is a space of congregation in the right side of the sanctum. Number of attendants: 4-5 for daily prayer and 30-40 for the festival.

12) Place of prayer: Amrut Vela Mandir

Religion & Cult: Hindu, Sindhi, Address: 815/16, Padamji Compound, Bhawani Peth, Pune 411002, Date of establishment: 1973, Name of founder: Dada Ishwar Balani, Informer: Geeta Soneja

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Details of prayer music: (A) Daily prayers – Arati and Sabad Keertan: 7:00 am to 8:00 am and 6:30 pm to 7:30 pm (B) Occasional – Naam Dhun and Sabad Keertan at 8:30 pm to 9:30 pm on every Friday. There is Satyanarayan Katha on every Paurnima at 11:30 am to 1:30 pm. There is special prayer on every Ekadashi (Gyaras). (C) Annual festivals – Krishna Janmotsav, Mahashivratri, Guru Nanak Jayanti, Dashahara, Geeta Jayanti. Prayers: Arati, Gurbani, Asadi Var, Ardas, Bhajan Method of prayer: All prayers are recited by the communion, some in responsorial method and some in chorus. In between two prayers, there is a Paath or philosophical talk. Arati has the tune of a typical Hindi Arati. Paath is recited in simple tunes without any rhythmic accompaniment. Many Bhajan tunes, recited by a group, are based on Ragas such as Yaman, Asa, Manjh-Khamaj, Bilawal and in simple Tala such as Keherva, Bhajani. The singer sings with self-accompaniment on Harmonium or Dholak. Other members play Jhanjh and provide vocal support in antiphonal method. Instruments: Harmonium, Dholak and Jhanjh are used for daily prayers. Nagara is played on special occasions, Pitch: Undefined for Arati and other recitations. Bhajans, Sabad Keertan are sung in A#, Language of prayer: Punjabi, Hindi, Regional impact of music: Punjab, Influence of other music category: Folk and Art music, Use of amplification: Yes Architectural details: This is a temple with a sanctum, an attaching hall and a courtyard hall for gatherings. The sanctum contains idols of Ganesh, Rama, Krishna, Jhulelal and Sahab-di-Gaddi. The attaching hall (18’ X 25’ X 15’) has a soft carpet and wooden panels which help create good acoustics. Number of attendants: Around 15-18 for daily prayers and more than 100 during festival.

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13) Place of prayer: Baba Govindram Jhulelal Mandir

Religion & Cult: Hindu, Sindhi, Address: Sai Chowk, Pimpri, Pune 411017, Date of establishment: 1947, Name of founder: Baba Govindramji, Informer: Shri Sonuji (Pujari) Details of prayer music: (A) Daily prayers – at 8:00 pm (B) Occasional – Every Friday - 8:30 pm to 10:30 pm Bhajan, Keertan. Every Pournima - 6:00 pm to 10:00 pm Puja and Bhajan (C) Annual festivals – Main festival is ‘Shravan Chaaliya / Chaliho’ in month of Shravan. In this festival, there is a holy lamp kept in a sanctum room for 40 days. During these days, fasting is strictly performed. On the 40th day, with a large procession the sacred lamp is into the river. There are Bhajan performances every day from 6:00 pm to 9:00 pm during these 40 days. Other festivals such as Cheti Chand, Dashahara, Navaratri and Mahashivratri are also celebrated with recitation of Bhajan and other prayer songs. Prayers: Arati (Jhulelal, Shiv, Durga, Ganesh, etc.), Ashtak, Palav, Bhajan Method of prayer: Daily Arati is sung in chorus of the devotees. Ashtak and Palav are recited by priest in solo voice. Bhajans are performed by the group of devotees in responsorial method while playing Dholak and Harmonium. Most of the Bhajans were found to be set in popular film-song-tunes. Instruments: Arati is accompanied Ghanta and Nagara for Arati. Harmonium, Dhol and Jhanjh are used in Bhajan, Pitch: Undefined pitch in Arati and group prayers. Bhajans were recited in C, C# Language of prayer: Sindhi and Hindi, Regional impact of music: Sindh, Influence of other music category: Folk Music, Use of amplification: Only during festival Architectural details: There are idols of various Gods embedded in the right hand wall, the front wall has photographs of Baba Govindram, there is shrine of Baba Govindram on the left and there is a sanctum and a sacred swing of Jhulelal near the entrance. The Arati and Bhajan take places in the central part of the hall. There is an adjacent hall where the congregation performs Bhajans during the festivals. Number of attendants: 8-10 for daily prayer and more than 100 during festival.

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14) Place of prayer: Sadhu Vaswani Mission

Religion & Cult: Hindu, Sindhi, Address: 10, Sadhu Vaswani Road, Near G.P.O. Camp, Pune 411001, Date of establishment: 1978, Name of founder: Sadhu TL Vaswani Details of prayer music: (A) Daily prayers – Morning prayer at 8:00 am, evening prayer at 6:00 pm (B) Occasional – There is Satsang every Thursday at 6:30 to 8:30 pm. (C) Annual festivals – Birth anniversary of Sadhu Vaswani, Thanksgiving week. Prayers: Arati, Naam Keertan, Bhajan, Sindhi songs by Sadhu Vaswani and Dada J P Vaswani, Shukrana. Method of prayer: The congregation sings the prayers in chorus. During the Naam Keertan, one lead singer recites the tune and the gathering sings it antiphonally5. During Satsang, there are special chunks for professional and amateur performers for presenting devotional songs. The influence of Indi-Pop and fusion music is also noticeable in the performances of singers such as Seema Ramchandani, Mohit Lalwani6, etc. Sometimes, the Satsang is called as ‘Bhajan Jam’ and the influence of Pop music can also be seen in the term itself, as the concept of jamming occurs in Jazz and Pop musici7. Instruments: Harmonium, Tabla, Dholak, cymbals are regularly used for prayers. Sometimes, Guitar, Synthesizer and Drums are also played especially by the youth8, Pitch: Prayer in C#, A# and D#, Language of prayer: Sindhi and Hindi, Regional impact of music: Sindhi, North Indian, Influence of other music category: Folk and Popular music, Use of amplification: Yes

5 See video link – https://www.youtube.com/watch?v=uRHffQSdepM and https://www.youtube.com/watch?v=LKpcJ5WlmxY 6 See video link – https://www.youtube.com/watch?v=pbYhBgvLFKc 7See video link – https://www.youtube.com/watch?v=m4FH0yXO7u8 8 See video link – https://www.youtube.com/watch?v=UnzwO8sdUuI (Here the four links are provided as a reference, because this video footage is either released on YouTube channel by the organization or the performer. In these cases, it was not possible to add them in the DVD attached with the thesis.) 158

Architectural details: There are several halls in the premises of the mission, but the Satsang takes place is a huge hall specially allotted for prayers. It has a good acoustic setup. Number of attendants: Usually 50-60 people gather for the Satsang and the number goes to 400-500 during the festival.

15) Place of prayer: Vimala Jivan Jhulelal Mandir

Religion & Cult: Hindu, Sindhi, Address: Survey no 59/5, Near Disney Park, Wanawori, Pune 411040, Date of establishment: 2004 October 22, Name of founder: Ashok G Thakur built this temple in memory of his parents Jivandas and Vimla Thakur. Details of prayer music: (A) Daily prayers – Arati at 8:30 am and 8:00 pm (B) Occasional – Sunday to Wednesday: Brahmakumari Satsang at 6:00 to 7:00 pm, Arts of Living Satsang on Thursday 6:00 to 7:00 pm, Satsang every by Vimla Jivan Mahila Mandal on Friday and Satsang by Sadhu Vaswani mission on Saturday. (C) Annual festivals – Durga Navami, Akshay Teej, Guru Paurnima, Ganesh Chaturthi, Navaratri, Mahashivratri Prayers: Arati, Naam Keertan, Bhajan, Sindhi devotional songs, Shukrana. Method of prayer: The daily prayers are recited by the chorus of devotees and the Bhajans are sung antiphonally. Instruments: Ghanta and Nagara are played during daily Arati. Bhajans, during Satsang, are accompanied by Harmonium, Dholak, Tabla, cymbals, and sometimes Guitar and electric keyboards, Pitch: Undefined for Arati. Bhajans are sung in A#, C and C#, Language of prayer: Sindhi and Hindi, Regional impact of music: Sindh, Influence of other music category: Folk and Pop music, Use of amplification: Yes Architectural details: The prayer hall (70’ X 25’ X 40’) with marble flooring has bad acoustics. The sanctum has several cubicles in which idols of various deities, such as Jhulelal, Radha-Krishna, Ganesh, Shiv Ling, Durga, Sadhu Vaswani, and Bhagat Kanwar Ram are placed. There is a permanent stage in the right side of the prayer hall.

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Number of attendants: Around 30-40 for daily Satsang and

16) Place of prayer: Hari Krishna Mandir

Religion & Cult: Hindu, Vaishnav, Address: Model Colony, Shivaji Nagar, Pune 411016, Date of establishment: 1959, Name of founder: Dilip Kumar Roy Details of prayer music: (A) Daily prayers – Arati at 6:30 pm, Bhajan at 7:00 pm to 8:30 pm, Shejarati at 8:30 pm. (B) Occasional – Bhajan at 11:00 am to 12:30 pm on every Sunday. They sing Devi Bhajans on Friday. (C) Annual festivals – Krishna Janmashtami, Gurupaurnima, Durga Puja, Mr. Roy and Indira Devi’s death anniversary. Prayers: Arati, Bhajan, Stotras Method of prayer: Arati is sung in antiphon method by the head lady priest and the congregation. The Bhajans are sung by the group of people with both, chorus and responsorial method. The Arati is composed by Dilip Kumar Roy (22 January 1897 – 6 January 1980), the founder of the temple and a famous Bengali singer, composer and author. Many of his Bhajan compositions are still performed in the weekly Bhajan programs. These Bhajans are set in the tunes of Ragas prevalent in Hindustani Art Music. Instruments: Only Ghanta is used for the Arati. The Harmonium, Khol or Dholak accompany the Bhajan, Pitch: Arati in A#, Bhajan in C and G#, Language of prayer: Bengali, Hindi, Regional impact of music: Bengal, Influence of other music category: Hindustani Art music and Baul music tradition, Use of amplification: Only on special occasions. Architectural details: The temple is situated in a bungalow. There is a sanctum containing the idols of Radha-Krishna, Shiva, Durga and Meerabai in the main hall; there are relics of Mr. Roy and his disciple Indira Devi near the right hand wall. The hall, which has a cozy feel, with its carpets and curtains proves to be acoustically good for music presentations. Number of attendants: 12-15 for daily prayers and 20-22 for Bhajan on Sunday.

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17 & 18) Place of prayers:

(A) Sri Radha Kunja Bihari Mandir (Camp) and

(B) ISKCON NVCC temple (Kondhwa)

Religion & Cult: Hindu, ISKCON, Address: 4, Tarapore Road, Near Dastur Boys School, Camp, Pune 411001 & New Vedic Cultural Center, Survey no 50, Kondhwa Budruk, Katraj-Kondhwa Bypass, Pune 411048, Date of establishment: 1995 & 2013, Name of founder: Gopalkrishna Goswami Details of prayer music: (A) Daily prayers - Mangal Arati at 4:30 am to 5:30 am, Guru Arati and Guru Puja from 7:30 am to 8:30 am, Gaur Arati (Arati of Chaitanya Mahaprabhu) at 6:00 pm to 7:00 pm. group Keertan at 4:00pm to 6:00 pm (B) Occasional – Nagar SanKeertan (procession with recitation of God’s name) every Tuesday at 7:30 pm. (C) Annual festivals – Krishna Janmashtami, Radha Ashtami, Ram Navami, Gaur Paurnima, Nrsimha Chaturdashi, Jagannath Snan Yatra, Balaram Jayanti, Govardhan Puja, Gopashtami and Geeta Jayanti Prayers: Stotra, Geeta Pathan, Naam SanKeertan, Arati, Bhajan Method of prayer: The priest chants the Stotra and Geeta. The Arati is sung by the congregation in chorus. The Naam SanKeertan and Bhajans are sung by the lead singer and group in responsorial method. Instruments: Shankha, Ghanta, Khol, Kartaal, Harmonium, flute, Pitch: Mostly C# and A#, Language of prayer: Sanskrit, Bangla and Brij, Regional impact of music: Bengal, Influence of other music category: Folk music and Baul music, Use of amplification: Yes Architectural details: Both these temple complexes are really huge and the prayer halls are lavish. The halls with marble flooring, decorative pillars create a spiritual atmosphere and are acoustically good.

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Number of attendants: More than 50 devotees visit daily and the count of visitors go up to 1000 on special occasion.

General Remarks:

Here are some conclusions and generalizations drawn after the survey of music at Hindu temples in Pune –

1. Hindu temples, especially Vaishnav temples and Mathhas have an elaborate system

on prayer music.

2. The Warkari cult is musically most prominent and vibrant today. The music at the

temples of Warkari cult is performed for almost every day of the year. The melodic

and rhythmic variations, stylization and the use of ample song forms are remarkable

in Warkari music.

3. Along with the element of primitive and folk music, the impact of Art music is

remarkable which is evidenced by frequent use of Raga structures, although the

compositions don’t expect melodic elaboration. The Tala structures are also more

explored.

4. The Keertan tradition is still in vogue and many budding Keertankars practice the

Keertan in many temples regularly.

5. The Bhajani Mandals of women are helping a lot in preservation of traditional

melodies and song forms in Hindu prayer music, though many of them, especially

Bhajan Mandals of non-Marathi communities are turned towards popular music

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category. The replacing of traditional melodies with popular film or non-film songs is

common in non-Marathi community Bhajan Mandals.

6. Most of the Hindu temples were centers of patronage to Hindustani and Carnatic Art

music, but in the post-modern scenario, they are not providing much support the Art

music but are increasingly inclined towards Popular music in last three decades.

7. It can be seen that the once flourishing tradition of playing the Shehnai-Chaughada

has been on a path towards diminution in the last four decades.

8. The participation of devotees in the prayer music is more noticeable at the temples of

newer sects and Matthas than the old temples.

9. The traditional Hindu temples have a good acoustic setup. On the contrast, many of

the recently built temples are not acoustically designed.

10. The use of sound amplification is common now days.

This chapter gives a large representation of the Hindu places of prayer and the music performed at these places. In the next chapter, i.e. the fourth chapter, the survey of the music at the non-Hindu places of prayer is presented.

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