Lalit Gupta
In the background of the cacophony of
modern music that has captivated the
imagination of the new generations who
are now increasingly looking for exciting
and entertaining music, it certainly goes
to deep rootedness of the grand cultural
tradition in Jammu that Indian classical
music is continuing its journey despite
the changed social context and patronage.
As far as the historic legacy of classical music in the region is concerned, other than depiction of musicians with instruments in 10th-11th century temple of Kirmachi, the name of Baiju Bawara finds prominent mention. The folklore recounts that legendary singer had visited Jammu in the 16th century. The story goes that one of the disciples of Baiju Bawra, Gopal Nayak, in his misplaced arrogance had challenged his guru for a competition. After Baiju Bawara defeated his disciple at Muzaffarpur, Gopal Nayak fled to North India and came to Jammu. Baiju Bawara followed his disciple to Jammu and again defeated him in a contest. While Gopal Nayak escaped to Kashmir, Baiju Bawara after staying in Jammu for some time left for Punjab where he stayed/settled at village Bajwada near Hosiarpur. According to scholars, it is quite possible that during his stay there, the artists of Sham Chaurasi Gharana of Hoshiarpur received training from him.
Further evidence of the continuation of classical music in this region has come from number of pictorial references as seen in many Pahari miniatures from princely courts of Pahari miniature paintings which while portraying Royal personages of Jasrota, Mankot, Jammu, Ramnagar and Poonch, often show them surrounded by musicians or listening to musical concerts.
During the rule of Maharaja Ranjit Dev in 18th century, when Dogra kingdom rose to be a supreme regional power, Jammu not only enjoyed the status of regional metropolis and a commercial centre, but also emerged as a cultural hub that attracted musicians, painters, sculptors, crafts persons and number of experts and inheritors of traditional knowledge systems. The names of mohallas in Jammu such as Mohalla Darugaran, Dhakki Srajan, Mohalla Julahaka and others carry their names after the professionals who had settled there.
During 19th century, when the modern state of Jammu and Kashmir was founded by Gulab Singh, the state of arts in North India led by Lahore darbar served as a model for all 22 hill states of Duggar. Maharaja Ranbir Singh, who ruled Jammu and Kashmir in 1858-85, ushered a series of progressive measures and the cultural renaissance among many other things led to a spurt in royal patronage of classical music in the State. It was during the time of Maharaja Ranbir Singh that Pandit Kakaram Shashtri, wrote a two volume manuscript on classical music titled Sangeet Mahodadhi, in which the author wrote a number of compositions in Dhrupad and Dhammar.
In the beginning of 20th century, Jammu Darbar continued the legacy by holding concerts of invited and locally renowned musicians on different occasions such as festivals and royal functions. During rule of Maharaj Pratap Singh (1885-1925) and Hari Singh (1925-47), the visits of music maestros were a regular affair. Amongst such singers a well known name was Ustad Ali Baksh of Patiala Gharana (father of Ustad Bade Gulam Ali Khan and grandfather of Munavar Ali Khan), who had stayed in Jammu for some years. The Ustad had good association with the spiritual guru of Hari Singh, Swami Sant Dev ji, who taught Ustad Ali Baksh Hari Om Mantra composed in Raag Pahari and the same composition has been passed on in Ustad’s family.
Other musicians of repute who were invited to give concerts in Jammu Raj Darbar included great maestros (not necessarily in chronological order) like Pandit Vishnu Digamber Paluskar, Ashiq Ali Khan, Ustad Miran Baksh, Jagan Nath, Nisar Ali Khan, Ustad Aziz Khan, Hanuman Kathak, Kesarbai Kerkar, Pandit Daleep Chander Vedi and many more. Some of them also worked as Shahi Sangeetkars. They inspired the general public to appreciate and learn the art of music.
With the result, other than the select amateur musicians, music scholars in form of Raj Pandits, royal astrologers, Ayurveda physicians, courtiers and high officials associated with the Raj Darbar, there were a definite audience amongst the civil society of Jammu who were highly familiar with the idiom of classical music, and capable of appreciating each of the classical styles in their own right. The family of Surinder Singh Bali, with their links with Jammu darbar, was one such family who remained lovers and promoters of classical music. Not only Darbari musicians but renowned musicians coming to the Raj Darbar used to hold private concerts at their home.
The Urdu Bazar, the bazar-e-husan of Jammu, boasted of many courtesans who were accomplished singers well versed in classical music. Malika Pukhraj, the court singer, and singers like Feroza, Nani and Munni, the dancing girls who used to give their performances in Hari Singh’s darbar, were all from Urdu Bazar. The contribution of Urdu Bazar to the classical music in Jammu still awaits proper research and documentation.
The practice of classical music was not limited to the high portals of Raj Darbar and few music rich loving families, but was wide spread amongst the citizens of Jammu, finds mention in many references which tell us about the vibrant tradition of Bhakti Sangeet in temples and dargahs of Pirs in the city where musicians used to regularly sing bhajans and other compositions.
In the book Memory Lane to Jammu by Rehmat-ulah Rad and Khalid Hussain published from Lahore, the writers who were natives of Jammu, have recorded that during 1940, it was a commonplace scene to see iterant Muslim Ustads and singers coming to the Pir Mittha shrine and sing compositions in Dadra in honour of the Muslim saint. There is also mention of Ustad Ashiq Ali of Patiala singing at the Sain Samiullah place and later giving an all night public concert at Kashmir Soap factory then located at Residency Road. The knowledgeable writer of the memoir has even recorded the ragas which the Ustad had sung.
In post- Partition scenario Jammu’s classical music legacy suffered an irreparable loss on two accounts. One was the void created by the absence of large number of Muslim musicians, nautch girls and many others well versed in subtleties of music, crossing over to Pakistan. The other was closing down of royal patronage.
In post-1947 scenario, while the new democratically elected state and central and governments were setting up the institutions for the preservation and development of arts and culture in the country, in Jammu, it was due to the selfless devotion of few immensely talented local musicians that the age old tradition of Indian classical music not only thrived with a new vigor but also honed the talent of new generation that has continued the flame of classical music burning.
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