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Prabhat Samgiita Visit and like us on Facebook at: https://www.facebook.com/RAWAglobal https://www.facebook.com/AnandaMargaOnline Prabhát Saḿgiita Some Salient Features and Musical Expression of Neohumanism What is the significance of the name Prabhát Saḿgiita? From the name, apparently one would conclude that this school of music has been named after its composer, Prabhát Ranjan Sarkar. But that is not the whole truth. Rather, this school of music heralds the glorious dawn of a new era. Here, Prabhát means the new dawn, and the word Saḿgiita denotes the totality of song, instrumental music and dance. So, Prabhát Saḿgiita signifies a new awakening on the horizon of the musical and cultural world. That is why it has been named Prabhát Saḿgiita. Optimism, not pessimism Many songs in vogue in the world consist of verses and rhymes that convey the ordinary. In the name of modern songs there are many such pieces written in good language. Also, in the present day writings, whether in the music world or literary world, one can easily find a huge mass of literature reflecting dire pessimism, and melancholy, unfulfilled desires and broken promises. One of the prominent features of Prabhát Saḿgiita is its distinct note of optimism reflected in its songs. Having this quality, Prabhát Saḿgiita is a marked departure from some present trends of composition. While despair and suffering are recognised, there is not an iota of pessimism that creeps into the songs. No one need be pessimistic. Take song number 1761 commencing with the verse: Jiivant́á nay theme tháká bhái Brother, life does not cease; Arúper páne nece cali We go on, dancing toward the formless. Káṋdibár tare ásini ámará We come not to weep, Chande o gáne kathá bali But to express rhythm and song. The song conveys that life ceaselessly moves on and in that movement we should best express ourselves. The song also contains the two lines: Práńer ákúti cetanár dyuti With vigorous zeal and radiant spirit, Sab nirásháke cale dali We go on, trampling despair beneath our feet. It stresses that we must move on, trampling underfoot all pessimism. As the essence of Prabhát Saḿgiita conveys a positive new dawn rising on the skyline of world, it is rightly called Songs of the New Dawn. 1 http://sarkarverse.org/wiki/Jiivanta_nay_theme_thaka_bhai Ananda Marga – RAWA Renaissance Artists and Writers Association Visit and like us on Facebook at: https://www.facebook.com/RAWAglobal https://www.facebook.com/AnandaMargaOnline Novelty in use of language, tune, rhythm and idea There are also noticeable formal features in the songs. Prabhát Saḿgiita songs are a class of their own, with their different use of language, varied tunes, enchanting rhythms and their own superb and subtle ideas. Language, tune, rhythm and idea – these four are the indispensable parts of a song. For musical excellence, compositions in high regard have these four qualities in them. They have novelty and excellence in bháśá (language), sura (tunes or melody), chanda (rhythm) and bháva (idea or inner spirit). In Prabhát Saḿgiita the last three are always universal in nature, only the first one is regional. Although most songs are in Bengali, there is no sentiment of regionalism or other limited ism. Language The language of Prabhát Saḿgiita is simple and direct, sweet and sympotic (i.e. communicates additional layers of meaning). Numerous songs are composed in the simplest language, with much use of verbs indicating movement. Some listeners of songs have a queer notion that simple and colloquial words are not good enough to be used in poetry and songs. But Prabhát Saḿgiita makes a bold departure from any such established practices. Tune Almost every song in Prabhát Saḿgiita has a new tune or a significant variation of a tune. Sometimes even one song has a blending of two or more tunes, making the song sweet and universalistic in appeal. This entreats the listener, even if not familiar with the language of the song. Rhythm According to the composer of Prabhát Saḿgiita, the ensuing generation is the generation of rhythm. Songs which are not rhythmic have less or no appeal to the people. The quest for rhythm is a trend of the age, and so we can say 95% of Prabhát Saḿgiita is rhythmic – this has deepest appeal to the psyche. Idea The ideas of songs should be profound and lofty in order to have impact on the mind. Prabhát Saḿgiita songs bring the mind in tune with the higher spiritual world. The inner spirit of Prabhát Saḿgiita songs is mostly mystic. The effect is that the singer has an ever conscious desire to have a close communion with the Beloved – that Supreme Consciousness (Parama Puruśa) and state of absolute perfection. The singer knows that his or her thoughts are still confined by microcosmic imperfection, but by unbounded grace found in unfathomable love of his/her dear Beloved, one day s/he will overcome all imperfections and become one with the Beloved. Ananda Marga – RAWA Renaissance Artists and Writers Association Visit and like us on Facebook at: https://www.facebook.com/RAWAglobal https://www.facebook.com/AnandaMargaOnline As examples of expressions of such divine feelings, take songs numbers 1, 8 and 13. And there are many others. Song number 12 starts: Bandhu he niye calo My abiding friend, take me and let's go Álor oi jharńá dhárár pane Toward the fountain of streaming effulgence. It is a simple song expressing that Parama Puruśa (the Supreme Consciousness) is the real friend, and it conveys the importance of seeking guidance to move along the spiritual path. The composer himself described the inner meaning of song number 1 as: Paramapuruśa is the real friend. Oh Paramapuruśa, direct me unto the fountain of divine effulgence. I was slumbering in Cimmerian darkness, I was an ordinary atom. But now I can no longer tolerate the staticity of darkness. Oh Paramapuruśa, sing before me the song which will arouse me from my deep slumber. Sing before me that song which will show me what is what and which is which. Song number 83 starts: Ámi jete cái tumi niye jáo I want to go; Lord, take me away. Bádhár báṋdhá sab chiṋŕe dáo Let all bonds and obstacles be shattered. It means I want to go with that Supreme Consciousness and come closer and not be disturbed by relative worldly bondages and obstacles. The composer described the inner meaning of song number 8 as: I have the intense desire to come to You and move along with You, Oh Paramapuruśa, but there are innumerable obstacles on the way. I want to move along with You, but in this material world, my mind is always being disturbed by various worldly bondages and obstacles. O my Lord, crush all those bondages, those walls of obstacles, and take me along with You. So many worldly waves come and go according to Your desire, so please help me, I am ready to do anything and everything for You. Take away all those obstacles so that I may easily reach Your lotus feet. Song number 134 starts with the verse: Ámi shudhu hesechi necechi I have only laughed, danced, and sung; geyechi With the moonlight I have made friends. Cáṋder álor sáthe bháv karechi Whatever I have seen, heard, or realized Jáhá kichu dekhechi shunechi I have etched in the jewel box of my mind. peyechi Maner mańi kot́háy enke rekhechi It is expressing a mystical feelings based around the moonlight. 2 http://sarkarverse.org/wiki/Bandhu_he_niye_calo 3 http://sarkarverse.org/wiki/Ami_jete_cai_tumi_niye_jao 4 http://sarkarverse.org/wiki/Ami_shudhu_hesechi_necechi_geyechi Ananda Marga – RAWA Renaissance Artists and Writers Association Visit and like us on Facebook at: https://www.facebook.com/RAWAglobal https://www.facebook.com/AnandaMargaOnline This time, the composer described the inner meaning of song number 13 as: I have fallen in love with the lustre of the moonlight. So I am only laughing and dancing and singing. I have established my friendship with the moonlight, not with the moon; because the moon maintains a distance, but moonlight is very close. Moonlight is my friend, mon ami5. Whatever I have realized, whatever I have treasured, if various obstacles or hindrances cause that to be lost, still I have lost nothing. Where there is no divine effulgence, there is no life. But, today, I have discovered the apostle of light. Variety of songs and styles As there are different people with diverse moods, sentiments and propensities of mind, so there must be varieties of songs. The author in keeping track of the varying psychologies and socia1 needs of the people, has composed a large variety of songs. Some categories are: Devotional songs (generally conveying styles of devotional sentiment); Mystic songs (e.g. deep experiences in dreams); Songs regarding stages of sadhana (meditation); Season songs; Songs of social consciousness; Marching songs; Ceremonial songs and song for social functions (e.g. birthday, marriage, baby naming, tree planting, mourning, Diipavali or light festival, New Year’s Day etc.); Children's songs. Different styles of music are also used, such as: Ghazal – a poetic form of music of Arabic origin, now found in many languages of the Indian sub-continent; Qawwali – a musical form of Sufi origin from Persia, now found also in Pakistan, Northern India and South Asia; and a variation called Broken Qawwali; Dhrupadii – one of the oldest classical forms of music in Northern India; Tappa – a semi-classical form of music, originating from folks songs of the Punjab, which became popular in Bengal areas; Thumri – a light classical form of devotional music from Northern Indian, with sweet melodies; Kheyal – a more modern form of North Indian classical music; Jhumur – a traditional form of music from East India; Kiirtana – praise songs that include hymns and mantras to express devotion.
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