Songs of Gandharvas

Gandharvas are folk singers who sing to the accompaniment of Sarangi, Arbajo and Madal. Traditionally, music was their sole profession. Their songs were handed down orally and did not have written notations. They learnt by committing entire songs to memory. They also have a vast repertoire spanning many genres. Besides popular genres like humor and bravery, they have songs for times of the day (morning, noon, evening) and for cultural occasions like wedding and vratabandhas.

Gandharvas’ songs used to disseminate news. ‘Ghatak’ are songs of events like murder, theft, elopement, etc. Gandharvas have on record major historical events like the earthquake of 1990 BS (1934), Chandra Shumsher’s visit to ‘Belayat,’ Jung Bahadur’s tiger hunt, etc. The well developed genre called ‘Karkha’ contains exact descriptions and genealogies of the Shahs, Ranas, and many local heroes going back to the sixteenth century. These songs were living memory reservoirs of entire communities.

Gandharvas also sing religious songs that differ from classical versions and provide local color. Ancient mythical characters wear local Dhungri, Fariya, etc in their songs. Gandharva Ramayana is especially well developed and differs at many points from the written versions.

In Vyasa’s version, Rama does not know that he is an avatar until the very end. In the Gandharva version, not just Rama and his family but even Surpanakha and Ravan are aware that he is Lord Vishnu, which changes the dynamics. This version is more deterministic, since Ravan walks into his death with full knowledge of his futility. According to Bhanubhakta Acharya, Ravan rubs his hands with dust before he abducts Sita so that his body may not contact Sita’s pure person. But he does no such thing in the Gandharva version.

The characterization of Sita differs even more radically. Sita is not aware of her status as a goddess in most versions. According to Bhanubhakta, Rama hides the real Sita and creates a Sita of grass. It is this fake Sita who tells Lakshman to leave her and go after Ram. Since it is the fake Sita who is abducted, the true Sita was never touched by Ravan. This version does not tell us what the real Sita would have done, since her agency is taken away to ensure that her chastity is unquestioned.

But in the Gandharva’s version, there is no such deception. Sita acts of her own volition. The story of her birth tells us that she has always been feisty. Sita hears parrots forecasting her marriage with Lord Ram, and captures them. She tells them they will be released only if their prediction comes true.

Later, when she espies the deer that would be her doom, Sita wants to “make a blouse of its skin.” In most other versions, Sita simply wants to play with the deer. Such minute variations mark the Gandharva Ramayana as a possibly unique Nepali version.

Gandharvas credit this version to Ravi Lal Kandel of Gulmi. But Kusumakar Nyaupane, who was part of a research on Gandharvas, informs that this version was popular among all castes, including Gandharvas, even before Kandel documented it. The fact that the Gandharvas’ version was more popular than other written versions illustrates how powerful a means of communication they were.

They have many local stories involving gods. A famous one is ‘Kalbaleni.’ Lord Shiva goes to a woman called Kalbaleni as a mendicant and asks for some alcohol, but she gives him water. Later he goes to her as a handsome man and asks for the same, but now her alcohol turns to water. She realizes that she slighted the mendicant. She asks the mendicant’s forgiveness, but even when she empties her store, she cannot fill his bowl. Lord Shiva curses her to be always poor.

Kalbaleni is an example of a prominent feature of Gandharva songs: moral. Here, Kalbaleni is cursed for her wicked behavior. Even in Ghataks, the wicked person is described by words like ‘sinner,’ and is punished, while good persons are rewarded. There is the implied threat that listeners will be punished if they behave similarly. They contribute to shaping the worldviews of their audience by spreading and endorsing values.

Gandharvas’ songs are also deeply philosophical. Jeevanphal talks of the journey of life, and gives the message that the body is simply a house for the soul. In accordance with classical Hindu theology, such songs embody the idea that life is ephemeral, and humans should pursue good deeds.

But Gandharva songs only incorporate ideology when it is relevant to them. A famous song about Lahure mentions that when “two kings fight, the people suffer,” discarding the royal ideology, whatever it is. Hence, though their songs may contain complex theological issues, they are always relatable.

In fact, subtle subversion of religion is common in these songs. Unlike written versions that only glorify gods, these songs express what people truly feel. While there are songs about Krishna’s prowess and romance, he is also listed among great sinners. ‘Char Yugko Ramkali’ describes kings of each ‘yug’ who lived lives of extreme luxury, but did not take away anything when they died. Krishna ‘has ‘1,600 Gopinis and wreaks havoc,’ but in the end gains nothing. Krishna’s example makes the point that pursuit of luxury and wealth are useless.

There is also subversion in Mangal (praise) of local gods like Gorakhnath, Muktinath, etc, which Gandharvas consider essential to their existence. Gorakhnath is said to be the creator of all the four Vedas and greater than Macchindranath. Gandharvas also believe Brahma gave them their instrument ‘Arbajo’ while the instrument is not mentioned in classical texts.

With historical songs, there is danger of similar exaggeration blurring facts. The names of Jung Bahadur’s brothers are correct but he is said to kill a 16-foot tiger when the maximum length of tigers is 10 feet. Later elements creep into older songs, like a fountain pen (called ‘funtin’) that writes Ramayana. One can easily imagine such embellishments being taken as truth, so truth has to be carefully mined.

Many of these songs are lost today, since few people want to hear religious or historical songs. Gandharvas have modernized in other ways: since Japanese scholar Imau Fumiko taught them to codify their music, they begin from basics like Sa Re Ga Ma when they teach outsiders. But some things don’t change, Gandharva children continue to neglect the notes and learn one song at a time. “We don’t need the notes,” they say, “music is in our blood.”

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Seasonal songs

The Gandharvas have a song for every month. Eastern Classical Music has a similar system of seasonal songs, but Gandharvas’ songs are different.

Baisakh: Kalbaleni

Folktale of a wicked woman who is taught a lesson by Lord Shiva.

Jestha: Belauri Rani

Sung by elderly women when planting and weeding ‘Ghaiya’ rice in the hills.

Ashadh: Asare

Sung during riceplanting and accompanied by a lot of fun and mud splashing. This song is believed to cause rainfall. One Gandharva claimed that it rained on June 16, 2014 because he played Asare that evening.

Shrawan: Sangneti

Gandharvas go from house to house singing this, and are greeted with food, rice, and Tika. This song is believed to ward off diseases, itching, etc.

Bhadra: Winter songs

From Bhadra, the weather gets colder, and traditional winter songs are sung.

Asoj: Malsiri

Sung during the nine days preceding Dashami. Playing it at any other time is believed to be a sin.

Kartik: Chaanchari

Played in Kartik after the Malsiri season ends.

Mangshir: Wedding songs

Mangshir is the traditional season of weddings.

Poush: Swasthani

Songs of Goddess Swasthani.

Magh: Sarumai Rani

Mentions flowering peaches and hints at spring. It is the story of a tragically widowed queen whom historians have identified as Queen Sarupadevi of Kaski.

Falgun: Faguwa

Mahadev Mangal in praise of Lord Shiva.

Chaitra: Chaitithi

Folksongs like Kalbaleni and others.

Published in Republica on June 27