Haveli Sangeet, popularly known as temple music, is a unique musical tradition rooted in ancient temple music in India. It is a vibrant expression of devotion, transcending its origins in temple rituals to become an integral part of India’s classical music heritage.
This music form declined during the medieval period but saw a revival with the rise of the Bhakti movement, particularly through the Pushtimargiya Sangeet Parampara of the Vaishnav Sampradaya.
Haveli Sangeet, although only about five centuries old, preserves the traditions of Bhakti music that have been present in India’s temples for over 5,000 years. The survival of Haveli Sangeet is credited to dedicated practitioners who defended its purity against external influences, ensuring the continuity of this spiritual art form.
Bhakti and Its Role in Haveli Sangeet
Bhakti, which refers to an intense emotional devotion to the divine, is described in ancient Indian texts as a path to achieving everlasting bliss and unity with God.
During the medieval period, when many Vaishnava temples were desecrated, Bhakti provided solace to the distressed.
This led to the emergence of various forms of Bhakti Marg, encompassing both Sagun (worship of the manifest) and Nirgun (worship of the formless), with Vaishnavism at its core.
Vallabhacharya and Haveli Sangeet
- In 1556, Vallabhacharya found a divine form of Bhagwat, which he named Lord Shrinath, or the ‘Consort of the Goddess of Wealth,’ in a cave on Giriraj Mountain. Vallabhacharya intended to build a grand temple for this deity but was concerned about its potential destruction during the reign of Aurangzeb. As a result, the deity was moved several times before finally finding a permanent home in Nathdwara, Rajasthan.
- Vallabhacharya selected four disciples—Kumbhandas, Surdas, Parmanandas, and Krishnadas—for devotional services, and Kumbhandas was appointed the first kirtankar (singer) of Shrinath.
- Ashta Sakhas: The tradition flourished under Vallabhacharya’s son, Shri Vitthalnath (also known as Shri Gusai). Gusai systematised the sewa (service) and added four more disciples — Govindawami, Chhitaswami, Chaturbhujdas and Nanddas — to the original group, forming the Astachaps or Ashta Sakhas (eight companions) of the Lord. These Astachaps were master composers, blending text and music with exceptional skill.
- Gusai introduced the concepts of raga (melody), bhog (offering), and shringar(adornment) as integral parts of the sewa. The raag sewa involves singing padas (devotional hymns) in different ragas and taals (rhythmic cycles) according to the eight prahars (time periods) as part of the Ashtayam sewa, including Mangala, Shringar, Gwaal, Rajbhoga, Uthapan, Bhoga, Sandhya, Aarati, and Shayan.
- Today, the temple of Shrinathji in Nathdwara, known as the Haveli of Shrinathji, serves as the seat of the Pushtimarg. Since the Pushtimarg temples were referred to as Havelis, the music associated with these temples became known as Haveli Sangeet.
Haveli Sangeet- A blend of tradition and devotion
In Bhagwat Purana, there are nine forms of devotional services: hearing (sravanam), chanting (kirtanam), remembering (smaranam), serving (pada-sevanam), worship of the deity (arcanam), praying (vandanam), carrying out orders (dasyam), serving Him as a friend (sakhyam) and sacrificing everything for the Lord (atma-nivedanam). Among these, kirtanam holds a significant place. The Pushti Margiya temples of the Vallabha sect became major centres of Kirtan Bhakti, where Haveli sangeet thrived.
Gwalior the ‘city of music’
The city of Gwalior in Madhya Pradesh was added to UNESCO’s Creative Cities Network (UCCN) last year for its “strong commitment to harnessing culture and creativity”.
Gwalior gharana, the oldest musical gharana and a significant chapter of Hindustani classical music’s history flourished under the aegis of Raja Man Singh Tomar during the 15th century.
The Legacy of Haveli Sangeet
1. Pandit Jasraj was one of the very few Indian classical musicians who was blessed to have performed Haveli Sangeet in most of the temples in India.
2. There is a misconception that Haveli Sangeet is sung only in the Dhrupad style, while Khyal, Kirtana, and Bhajan styles are also common.
📍Khyal Gayaki: It emphasises melody (Bhav and Raga Pradhan), where the focus is on the raga rather than the lyrics.
📍Dhrupad Gayaki: It is rhythm and word-centric (Taal and Shabd pradhan), with the lyrics given prominence. In Dhrupad singing within the Haveli Sangeet, a performer cannot break a phrase or word during layakari (rhythmic improvisation).
Court music and temple music
During the mediaeval period, Indian music evolved into two distinct forms: Court music and ‘Devalya’ or temple music.
The ancient Prabandhas, composed in Sanskrit, were inaccessible to the common people, leading to the emergence of compositions in local dialects that resonated with the masses.
This transition marked the evolution of the Prabandha into Dhrupad. Temple Dhrupad later influenced Court Dhrupad, particularly during the reign of Mughal emperor Akbar, whose Court musician, Tansen, was a prominent Dhrupad performer. Over time, however, Dhrupad lost its spiritual essence and its original purpose of uplifting the soul.
Indian classical music
1. Today, we recognize two systems of classical music: Hindustani and Carnatic. Additionally, there are several other traditions such as folk, tribal, etc.
2. Carnatic music is primarily found in the states of Karnataka, Andhra Pradesh, Tamil Nadu, and Kerala. In contrast, the classical music of the rest of India is known as Hindustani Classical Music. Notably, there are areas in Karnataka and Andhra Pradesh where the Hindustani Classical system is also practiced.
3. Carnatic music is characterized by its homogeneity, whereas Hindustani music reflects a more heterogeneous Indian tradition.
