Raga Malhar: Music of the rains
Shailaja Khanna
THE onset of the rains in India is welcomed unconditionally. For, with the rains comes respite from the scorching heat and the prospect of good crops. In North India, the importance of serenading the monsoon season with dance and music has been recognised from time immemorial.
One of the six original ragas was Megh, said to bring ‘megh’, the clouds, or ‘varsha’, the rain. Somewhere along the way, Megh took on a new name, Malhar. Some say it means to clean (mal). Guru Granth Sahib, replete with the sayings of the gurus from the 15th century onwards, refers to Malhar. Today, the original Malhar is considered a rare raga. Termed Shuddha Malhar, it is rendered without the characteristic ‘nikhads’, the sixth note.
The man behind the most popular form of Malhar was Mian Tansen, his version being termed Mian ki Malhar. Arguably, this Malhar is said to bring rains. ‘Bole re papihara’ from the film ‘Guddi’ (1971) is a well-known 17th century composition in this raga.
An earlier form of Malhar was Gaur Malhar, originating from eastern India in the region known as Gaur. The raga is today extinct, except when used in combination with a raga like Malhar or Sarang. Vocalist Ashwini Bhide feels Gaur Malhar represents the feminine form of Malhar — some of the popular compositions speak of women and the rains (‘Maan na karo gori’). “Gaur Malhar has a playful feel to it,” she says.
Many saint musicians created their own versions of Malhar. The time of the ‘chatur maas’ or the monsoon months during which Hindus observe austerities and engage in prayer, was also a time for contemplation. Perhaps that’s why the saints of yore composed many hymns in Malhar. Sant Surdas gave us Surdasi Malhar. For Bhide, this Malhar is like a lovable child. There are fewer khayals in the raga. Most instrumentalists haven’t given it the focus it deserves.
Ramdasi Malhar, attributed to Sant Ramdas, seems more popular amongst instrumentalists of the Senia tradition. Vocalists Ustad Amir Khan, Pt Kumar Gandharva and Pt Jasraj have left behind memorable recordings in this raga. Mirabai created her version of Malhar. Interestingly, several female vocalists, including Kishori Amonkar, Begum Parveen Sultana and Kaushiki Chakraborty, have sung Meera Malhar. Several Malhars have been created by joining another raga to it, including Megh Malhar, Nat Malhar, Jayant Malhar (with Raga Jaijaiwanti), Des Malhar, Chaya Malhar and Kedar Malhar.
The folk tradition in Uttar Pradesh remains vibrant and one hears many songs for the monsoon season, replete with evocative mentions of ‘dadur’ (frog) and ‘mor’ (peacock) cavorting in the rains. The semi-classical tradition has an entire genre called ‘kajris’ devoted to monsoons. Be it fear of the thunder and grey clouds, missing one’s lover, or simply speaking of nature, ‘kajris’ are an inescapable part of the classical music repertoire in these months. There are ‘kajris’ from Mirzapur, Awadh and Varanasi. Begum Akhtar sang Awadhi ‘kajris’, while Badi Moti Bai, Rasoolan Bai and the like sang Benarasi ‘kajris’. The songs are mostly based on ragas Des, Sorath and Sarang.
Another sub-genre is ‘saawan’, popular in the Lucknow region. ‘Aayi saawan ki bahaar’ is very popular and so is ‘Amma mere baba ko bhejo re’; the latter by 12th century poet-musician Amir Khusrau.
Malini Awasthi, one of the most knowledgeable artistes on folk tradition, says, “The monsoon period is so critical for future prosperity, it is natural that there are so many songs dealing with the subject.”
“‘Jhoolas’ are special to Mathura, Vrindavan and Ayodhya. The gods are visualised with their consorts on a swing. In Braj, ‘hindolas’ are sung too. In Bundelkhand’s Mohoba region, as also in Awadh, there are ‘alhas’ (ballads). In the sowing season, a tedious job involving women, ‘ropanis’ are sung. Later, the process of weeding, another time-consuming job relegated to women in the rainy season, involves the singing of ‘sohnis’,” she says.
One can only savour the music of the rains; the devastation they cause is another story.
