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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 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. 69 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, 70 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. 71 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. 72 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 73 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.
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