HAVELI SANGEET
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Haveli Sangeet, often referred to as temple music, is a distinctive tradition rooted in the ancient musical practices of Indian temples. It serves as a vibrant form of devotional expression and has evolved beyond its ritualistic origins to become a vital part of India's classical music legacy.
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Although this musical tradition experienced a decline during the medieval period, it was revitalized during the Bhakti movement, particularly through the Pushtimargiya Sangeet Parampara associated with the Vaishnav Sampradaya.
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While Haveli Sangeet itself dates back roughly 500 years, it embodies the essence of Bhakti music, which has been integral to Indian temple traditions for over 5,000 years. Its preservation is attributed to the dedication of practitioners who safeguarded its purity from external influences, ensuring the continuation of this spiritual musical heritage
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In 1556, Vallabhacharya discovered a divine manifestation of Bhagwat, which he named Lord Shrinath, symbolizing the 'Consort of the Goddess of Wealth,' within a cave on Giriraj Mountain. While he envisioned constructing a grand temple for this deity, concerns over potential destruction during Aurangzeb's reign led to the deity being relocated multiple times before settling permanently in Nathdwara, Rajasthan.
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Vallabhacharya appointed four disciples—Kumbhandas, Surdas, Parmanandas, and Krishnadas—for dedicated devotional service, with Kumbhandas becoming the first kirtankar (devotional singer) of Shrinath.
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The tradition was further developed by Vallabhacharya’s son, Shri Vitthalnath, also known as Shri Gusai. Shri Gusai organized the sewa (service) and expanded the original group of disciples by adding Govindawami, Chhitaswami, Chaturbhujdas, and Nanddas, creating the Ashta Sakhas (Eight Companions) of the Lord. These eight disciples, known as the Astachaps, were exceptional composers who masterfully combined poetic texts with music.
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Shri Gusai also introduced key elements into the devotional practices, including raag (melody), bhog (offerings), and shringar (adornment). These components became central to the Ashtayam Sewa, a ritual involving the singing of padas (devotional hymns) in specific ragas and taals (rhythmic patterns) according to the eight prahars (time divisions of the day), which included Mangala, Shringar, Gwaal, Rajbhoga, Uthapan, Bhoga, Sandhya, Aarati, and Shayan.
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Today, the Shrinathji temple in Nathdwara, also known as the Haveli of Shrinathji, serves as the spiritual center of the Pushtimarg tradition. The term "Haveli," used to describe Pushtimarg temples, also gave rise to the name Haveli Sangeet for the devotional music associated with these temples
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Haveli Sangeet as a blend of tradition and devotion
The Bhagwat Purana describes nine forms of devotional service: listening to divine stories (sravanam), singing praises (kirtanam), meditating on the Lord (smaranam), serving His feet (pada-sevanam), offering worship (arcanam), expressing prayers (vandanam), obeying His commands (dasyam), forming a bond of friendship (sakhyam), and surrendering completely to Him (atma-nivedanam). Among these, kirtanam holds a particularly prominent role. The Pushti Margiya temples of the Vallabha tradition became important centers of Kirtan Bhakti, fostering the growth and flourishing of Haveli Sangeet
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Pandit Jasraj was among the select few Indian classical musicians privileged to perform Haveli Sangeet in numerous temples across India.
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There is a common misconception that Haveli Sangeet is limited to the Dhrupad style, whereas styles like Khyal, Kirtana, and Bhajan are also widely practiced.
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Khyal Gayaki: This style emphasizes melody (Bhav and Raga Pradhan), prioritizing the expression of the raga over the lyrics.
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Dhrupad Gayaki: In contrast, this form focuses on rhythm and words (Taal and Shabd Pradhan), with greater importance given to the lyrics. In Dhrupad singing within Haveli Sangeet, performers must maintain the integrity of phrases or words during layakari (rhythmic improvisation)
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City of Music
The city of Gwalior in Madhya Pradesh was included in the UNESCO Creative Cities Network (UCCN) last year, recognized for its "dedication to leveraging culture and creativity." The Gwalior Gharana, known as the oldest musical tradition in Hindustani classical music, thrived under the patronage of Raja Man Singh Tomar during the 15th century
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Today, classical music is divided into two main systems: Hindustani and Carnatic, along with various other musical traditions like folk and tribal music.
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Carnatic music is predominantly practiced in the states of Karnataka, Andhra Pradesh, Tamil Nadu, and Kerala. On the other hand, the classical music of the remaining regions in India is referred to as Hindustani Classical Music. Interestingly, there are regions in Karnataka and Andhra Pradesh where the Hindustani Classical tradition is also prevalent.
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Carnatic music is known for its consistency and uniformity, while Hindustani music embodies a more diverse and varied Indian tradition
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For Prelims: Hindustani and Carnatic music, Thyagaraja, Muthuswami Dikshitar, Shyama Sastri (Carnatic)
For Mains: GS I - Art & Culture, Raja Man Singh Tomar and his contributions to the Gwalior Gharana
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