 "Monsoon Music: From Himachal Pradesh, songs about sowing and separation")
Editor’s note: In India, the monsoon nurtures and devastates; it brings life, and sometimes death; it frightens — and bewitches; it is both anticipated and dreaded; longed for and wished away. It is also inextricably linked with the culture of India. The rains have inspired poets, writers, musicians, artists to create some of their most compelling works. The folk music tradition has been particularly inspired by the monsoon — be it in the North, South, East or West, there’s bound to be a folk song (or several) that speaks of the rain and what it represents. In this series, based on conversations with folk musicians and experts, we examine #MonsoonMusic. In part 2 — Himachal Pradesh. See more from the series
here
. *** Each of Himachal Pradesh’s 12 districts has its own tradition of folk songs about the rains, defined by the topography. [imgcenter]
People assemble from across the region at the fair, wearing silk tufts as a symbol of minjar; they also carry in their hands a paddy plant, a rupee coin, a coconut and a seasonal fruit – all tied up in a red cloth, meant as an offering to their devta. A huge procession for 200 deities, accompanied by singers and dancers, descends on Chaugan from the neighbouring villages, and the fair commences with the singing of Kunjari Malhar. The most notable songs of Kunjari Malhar are addressed to kunj, a bird found in the hills around this time. “Jaa meri Kunjariyo, barsat aave mere Rama, udi ke mila, kaiyon udi ke mila, mere preetam, ho Rama…” the singer tells the bird, pleading with it to carry her message to her beloved, promising gifts if the bird does so. [imgcenter]
Here’s a snippet of one of the popular folks songs about the rain from the Chamba region, in which the nayika addresses a cloud, disclosing that since being separated from her lover, she has lost all interest in daily chores: O re badra, mera piya gayo pardes/ sawan aayo, aayo re sainya, tora laiyan, badra mera piya pardes/ na main nhati na main dhoti, na main kita singar/ na main sej chadhke suti/ve mera saiya gayo pardes, sawan aayo re… In another song, also addressed to the clouds, the nayika speaks of the heaviness in her heart at the enforced separation from her beloved: Ghan ghan garje, meha barse, naina tarse, bhure bhure badal chaaye, mera jiya ghabraye, sajna… [imgcenter]
*** Notes on the text – The author wishes to acknowledge the contributions of Dr Satish Sharma, a scholar who has written several books on Himachali folk music; Rupeshwari Devi, a collector of folk songs from Mandi; and Vijay Sharma, a miniature artist from Chamba. This article would not have been possible without the insights shared by these experts. Notes on the art – All artwork courtesy Kangra Arts Promotion Society. Details for each, in order of appearance in this post: Tile: Sheltering from Rain | Theme: Bihari Satsai | Medium: Mineral pigments and pure gold on hand made paper Among the most delightful paintings by the master artist of the paintings of the Bhagavad Purana series. Krishna, the other cowherds and the gopis take refuge under a pair of trees during a sudden shower. Krishna and his favourite gopi shelter beneath a shawl. The cows provide a cover to the lovers. A liana embraces the tamala tree in its coils; the trees themselves seem locked in embrace. On the crown of a tree, a peacock – the lover of the cloud – shouts exultantly. Snow-white saras cranes soar into the sky. Meanwhile, two gopis carrying pitchers say to each other (as expressed in the following verses by the poet Bahadur; translated into English): The jasmine is entwined with the champaka, The nagalata is embracing the tamala; The rivers are rushing madly to mate with the ocean, And young women overcome with passion are seeking their lovers. The restless lightning is dancing in the dark clouds. May you also be blessed with love, Oh Sakhi! Title: Tryst in the Forest | Theme: Bihari Satsai | Medium: Mineral pigments and pure gold on hand made paper Radha and Krishna tryst on the outskirts of the village. As they stand on a bed of leaves, there is a flash of lightning among the dark clouds and it begins to drizzle. Krishna raises his blanket to protect Radha from the rain. This is a painting of rare beauty expressive of the tenderness of love. Title: Month of Shravana | Theme: Baramasa | Medium: Mineral pigments and pure gold on hand made paper From the Baramasa series of Kangra paintings depicting the month of Shravana (July-August). The rainy month of Shravana is a month of lovers – amorous and passionate. The lovers are seated on a chauki and the lady points to the lightning flashing across the sky; she urges her lover not to leave her alone in the month of Shravana. The painting is inspired by the following verse from Keshavdas’ Kavipriya, translated into English: “The streams look so lovely, as they rush to meet the sea.The creepers enchant the eye embracing young trees lovingly. The lightning flashes restlessly as she sports with rolling clouds. The peacocks, with their shrill cries, announce the mating of earth and sky. All lovers meet in this month of Shravana , why forsake me then, my love?” Title: Month of Bhadon | Theme: Baramasa | Medium: Mineral pigments and pure gold on hand made paper From the Baramasa series of Kangra paintings depicting the month of Bhadon (August-September). The lovers are seated in a balcony of a garden-house watching cranes in flight. On hearing a clap of thunder, the woman clings to her lover. The dark clouds, lightning, and peacock depict the ambience of Bhadon. The painting is inspired by the following verses from Keshavdas’ Kavipriya, translated into English: _“_The purple clouds are gathering, the thunder rolls and rain pours in torrents. The wind blows fiercely, the cicadas chirp continuously, tigers and lions roar and herds of elephants fell the trees. The day is dark like the night. Living at home is like nectar and separation is like poison. So I pray, leave me not in this month of Bhadon.”