INSIDE THE GURU'S GATE - Anpere

among the local ragis I interviewed was to employ a selected numbers of ragas and
tunes for hymns they sing in the daily services and in other performances more freely
combine verses with various ragas to make the musical presentation of gurbani more
attractive to listeners. 507 For example, a gurbani hymn written in Rag Todi in the Guru
Granth Sahib can be performed in another raga which is not included in the scripture,
just as a verse not structured after Rag Todi can be sung in that melodic measure.
More experimental uses of a large number of melodic measures require skill in classical
music. I was told that only those who are “masters of ragas” and exceptionally
talented in the raga-system are able to select from a variety of melodic modes to enhance
emotions adjusted to the precise temporal and spatial circumstances. The ordinary
ragi performer, on the other hand, must always regulate the performance to the
taste of the audience and continually improvise with the musical components to create
interest in gurbani. An elderly ragi jatha leader in Varanasi explained:
When I perform kirtan I always watch the audience, the sangat, if they
are getting [gurbani] it or not. I have been involved in this since childhood
so by now I understand what the audience likes. We use those
styles which the congregration can understand. Sometimes I will mix
three to four ragas just to make the kirtan more attractive. Sometimes I
use outside tunes [popular music]. The congregation likes it. When
they become interested then I can tell them that I will sing a gurbani
hymn in the same raga as mentioned in the Guru Granth Sahib ji. We
have to do like this. If I sense that the congregation is not getting my
kirtan, then I stop and explain what I am singing. I give an explanation
to the hymn. Then they will understand and enjoy.
The profession necessitates a ragi to be sensitive to the context and never let his musical
interest or skill take over a performance designed for rendition of gurbani. To
freely choose and conflate appropriate ragas and folk tunes is, on the other hand, the
means to creating an aesthetic language through which people may enjoy, understand,
and “taste” the spiritual flavour of gurbani, even experience connectedness
with the divine. He will therefore adjust the musical modes and tunes to the recepetivity
of the congregation.
507
A local ragi jatha in Varanasi divided the day into three periods during which they used the
following measures: in the morning (4 am to 8 am) Rag Asa, Rag Bhairo, Rag Bhariwi, Rag Todi; in
the daytime (10 am to 12) Rag Sarang, Rag Kaufi, Rag Bindra, Rag Berasi, Rag Basant; and in the
evening (7 pm to 12) Rag Kaliyan, Rag Jamman, Rag Madhwanti, Rag Jajwanti, Rag Kalavati. For a
more detailed division of ragas in Sikh kirtan, see Mansukhani 1982.
292
Published on www.anpere.net in May 2008