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Ragaang : An Unique Perspective of Hindustani Classical Music
In Hindustani classical music, the concept of Ragang plays a pivotal role. Derived from the words "Raag" and "Ang," where Raag signifies a melodic framework that evokes a specific mood or emotion, and Ang means a part or characteristic, Ragang refers to a distinctive pattern of notes or musical phrases that shape the identity of a Raag. In essence, when a set of characteristic notes (usually two or three) from one Raag is incorporated into another, it is called Ragang. This technique enriches the Raag by blending its traditional structure with influences from another.
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The use of Ragang is especially significant in the creation of new Raags. The earliest mention of this concept can be found in the ancient text Brihaddeshi, written by Matanga Muni, where he discusses Desi and Gram Raags, along with related concepts like Ragang, Bhashang, and Kriyāng. According to Matanga Muni, Raags that carry the essence or influence of Gram Raags are termed Ragang Raags.
The renowned musicologist Pt. Vishnu Narayan Bhatkhande adopted this method of classifying Raags, which he detailed in his book Bhatkhande Sangeet Shastra. Bhatkhande explained that Raags are identified and categorized based on their dominant notes. For instance, in Raag Asavari, the characteristic notes in the Purvanga (lower tetrachord) are Re, Ma, and Pa, while in the Uttaranga (upper tetrachord) they are Ma, Pa, Dha, and Sa. This distinctive note pattern gives Asavari its unique identity, and when this pattern is used in other Raags, it is known as Asavari Ang.
Contributing to this classification, musicologist Pt. Narayanrao Moreshwar Khare identified 30 key Ragang Raags, which have played a crucial role in shaping the landscape of Hindustani classical music. He also highlighted various Angs(distinctive patterns) from different Thaats (parent scales) such as Sarang, Dhansari, Malhar, and Kanhada. These are listed below:
Ragang Raags and Their Characteristics:
- Bhairav –
- Bilawal –
- Kalyan –
- Khamaj –
- Kafi –
- Purvi –
- Marwa –
- Todi –
- Bhairavi –
- Sarang –
- Dhansari –
- Lalit –
- Sohni –
- Pilu –
- Nat –
- Shree –
- Bageshree –
- Kaus –
- Kedar –
- Shankara –
- Asavari –
- Kanhada –
- Malhar –
- Hindol –
- Sorath
- Bihag –
- Kamod –
- Bhatyar –
- Des
- Bimpalasi –
These Ragang Raags, with their unique note combinations and patterns, continue to play a foundational role in the evolution and creativity within Hindustani classical music, offering a rich interplay of tradition and innovation.
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Portfolio: The gateway to Industry
As we know Portfolio is one of the most essential part of the career but most of the students and the new comers are unaware about the portfolio and the the process of designing the best portfolio as per their profession.
In this chapter, I wish to go beyond the music curriculum and wanna discuss the importance of Portfolio and the process of designing portfolio in Performing Arts- especially in Music, Dance and Drama.
Portfolio: A systematic collection of profile or a work that showcases an individual's skills, performance, awards -achievements, and experiences in music, dance and drama is called a portfolio. It serves as a demonstration of one's abilities and is often used to present oneself to potential employers, clients, educational institutions, or collaborators. Resume, CV and Portfolio are the showcase where individual present the data or the collection of overall achievements i.e Personal detail, Educational qualification, experiences etc. are presented in documents form. CV and Resume are generally common to all profession, a overview, concise and summery of education, work, experiences and achievement. It can be usually of 3-5 pages length as per the requirement. CV and Resume can be use as overview and outlook of ones overall information in brief where no audio-video-print/ artwork/ music/dance/drama performance are mentioned only in bullet data form but in portfolio, the same information are illustrated in extensive way with audio-video reference of performance/ paper/magazine cutting/ news reference/coverage, photographs of performances, awards, conferences, subject expert and the detail elaboration of the composition and artwork, literature, script, and more.
How to Create organised Portfolio
Portfolio should be organised and must cover all the achievements, skill sets that required as per the profession you are seeking to work in the industry.
Portfolio should have:
a. Personal detail
b. Educational detail
c. Experiences and your association with companies/ institutions/ production house/ IMDi Profile
d. Achievements : Photographs of Award ceremony, Audio/ Video of music/ drama / dance/ film/ drama/ painting or other published documents or can be pasted a hyperlink of the sources. Newspaper cutting, certificates, and other available data that show you achievements
e. Dream project can be added at end
While designing layout and design these thing to be taken care :
a. Focus on simple and clear layout that match you work and profile/ photograps
b. Stander text size and appropriate color
c. Taken care while arranging of photographs design
d. Use thumbnail, Hyperlink for long footage or detail coverage of your
e. Description of each art work and awards / achievements without overlaps
f. Testimonial of works by renowned personalities
A portfolio is essential in a career because it showcases your skills, experiences, and accomplishments in a tangible way, beyond what a resume or interview can convey. It allows you to demonstrate your expertise through real-world examples, giving potential employers or clients a clear idea of your capabilities. A well-crafted portfolio can set you apart from others, highlighting your creativity, professionalism, and personal brand. Moreover, it acts as a living document that you can continuously update to reflect your growth, making it a crucial tool for career advancement and networking.
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SWOT ANALYSIS OF MUSIC EDUCATION
Music education is an instrument that is very operational in transforming the style and impact of education in higher education it has the aim of empowering the cultural values as well as cognitive development in student who opt for music curriculum in higher studies. The SWOT analysis of Music Education is to study the strength, weaknesses, opportunities, and threats for Music Education at the university level. It is evident that the universities have rushed to implement this program, resulting in syllabuses that do not fulfil the goals of the NEP-2020 for making recommendations for such programs thus the focus of the analysis is from the perspective of the Education department or Education faculties that include music education as an essential component of the curriculum.
Read full paper :- link attached https://www.researchgate.net/publication/361107914_SWOT_ANALYSIS_OF_MUSIC_EDUCATION
https://www.researchgate.net/publication/361107914_SWOT_ANALYSIS_OF_MUSIC_EDUCATION
Saang Tradition in Haryana: A Cultural and Artistic Exploration of Pandit Lakhmichand's Performance
Saang Tradition in Haryana: A Cultural and Artistic Exploration of Pandit Lakhmichand's Performance
Geeta Mattu1, Kumar Sargam2
http://swarsindhu.pratibha-spandan.org
Abstract:
The research provides a concise overview of its focus and objectives, centered around acknowledging Pandit Lakhmichand's significant contributions to Haryana's folk music tradition known as "Saang." It highlights Saang as a vibrant reflection of Haryana's culture, utilizing historical and mythological stories, theatrical elements, and societal values to enrich its musical expressions. The present work specifically emphasizes Pandit Lakhmichand's role as a spontaneous poet who infused Saangs with captivating romantic and religious themes, thereby adding depth and richness to the tradition. Moreover, the research's scope includes shedding light on Pandit Lakhmichand's artistic journey, influences, and commitment to social reform activities. It also mentions the examination of Saang performances' characteristics and elements, such as stage setup, lighting, musical instruments, costumes, and makeup, which are integral to understanding the essence of Saang. Overall, the research sets the stage for a comprehensive exploration of the Saang tradition in Haryana, with a specific focus on Pandit Lakhmichand's contributions and the unique elements that define Saang performances. It promises to offer valuable insights into the cultural, social, and religious aspects of Haryana's folk music landscape.
Keywords: Saang tradition, Haryana folk music, Cultural exploration, Performance elements
Introduction
Haryana's vibrant culture and tradition are vividly portrayed through the art form known as 'Saang' (Attri, 2023). The form of Saang that is seen today has a rich history hidden behind it, going back many years (Kumar, 2010). Haryana's Saang tradition is influenced by various folk theater styles from neighboring regions, such as the Bhanda Pathar of Kashmir, Nakkal of Punjab, Khyal of Rajasthan, Nautanki of Uttar Pradesh, and Ras of Bihar and Bengal. Haryanvi songs are primarily based on the principles of melody and emphasize the essence of music. These are pure form of folk theater with strong connections to ordinary people. The stories available in history, mythology, or legends are presented to the audience in their respective style, language, and manner. It is for people of all ages and social backgrounds and represents a powerful tool for social commentary and education (Bhan, 1996).
Nowadays, Saang can be considered a complete form of Bhakti or Nautanki. The exact origin of the word 'Saang' is not certain, but it is believed to be derived from ‘Swang.’ The common meaning of Swang is to imitate the behavior, emotions, etc., of someone or something. Songs are the lifeline of Haryanvi Saangs. The intricacies of Saangs are woven with the art of musical instruments. It is the magic of ragas that makes them come alive. In Haryana's religious songs, one can immediately see the essence of religious and moral values. Such songs inspire people to engage in virtuous deeds, leaving behind sinful actions. ‘Sang’ was respected in society. Along with musicians, during the time of saints and ascetics, it also became known by other names like ‘swang’ or ‘sangit.’ Through sāngs, one can understand the social, economic, religious, and cultural aspects of any community using it. Sāng provides insights into society's beliefs, customs, traditions, culture, and social values (Gupta, 2005).
Methodology:
The research gives a deep look into the music and folk culture of contemporary Haryana. Many different sources of information are utilized to understand the research thoroughly with various data analysis, interview social studies during the field visit. Primary data sources of the study was questionnaire, interview and filed observation and live performance of the Saang during the period of filed visit in Umbala, Zind, Kurukshetra and other places of Haryana. Secondary sources of the data were extracted from archive of Akashvani, YouTube, Blogs, Websites, Books and Library. The research work also presents the author's comprehension of folk music and music studies. The research is built on a solid knowledge base to analyze and study the subject more effectively and precisely. The Methodology used in the research was historical method, descriptive method and field visit and survey method. Methodology of data analysis was based on both qualitative and quantitative method.
Artistic Exploration of Pandit Lakhmichand
a. Life and legacy
Pandit Lakhmichand was a spontaneous poet. Whenever he sang a particular Saang, he never sang it in the same way twice. Each time he sang, it was in a new form. He added such a unique flavor of romance to the art of Saang that people compared it to the nectar, prompting them to savor its taste like honeybees. Dividing Pandit Lakhmichand's songs into different categories is challenging because there is no Saang by him where romantic and religious sentiments do not intermingle seamlessly.
His songs often blend heroic and humorous rasas (emotions) elements and feature instances of wit and humor, making it difficult to compartmentalize them into distinct categories. To learn the art of acting, he resided for a few days with Shri Chand Saangi, a resident of Hadipur, Haryana, who had a Saang troupe. For six months, he served his guru with unwavering dedication and reverence, and following this continuous practice, he returned home as proficient in the art of singing. The sweetness of his voice captivated young Lakhmichand's heart in such a way that upon their first meeting, he immediately considered Shri Manasinh as his guru (Sharma, 2006).In 1924, when Pandit Lakhmichand created his Saang, the songs that the public had previously witnessed were the ones they saw again with remarkable transformations in Lakhmichand's Saang. This led them to appreciate his artistry anew. In the sāng ‘Puranmal,’ composed by Pandit Lakhmichand and Pandit Vyas Ji, the main goal of both poets is to depict the practice of polyandry in society. Their close friend once said about them, ‘The one who understands Lakhmichand only as a singer is truly wise.’ Their perspective was always directed towards social reform activities. They directed the earnings from their songs towards charitable work. In Saangs, dance and acting are the primary means of expression. The nuances of Saang performances are enhanced through the expressions and movements of dance. The gestures and postures of dance make Saang's performances more attractive and emotionally resonant. In Saangs, there is also a subtle touch of humor, and its representation is carried out by the comedian, known as the ‘Nakli’ in the Saang tradition. During religious and social festivals, whether in temple courtyards, village gatherings, or small open stages, this style has been an essential means of entertainment for generations. These performances not only included love stories but also depicted contemporary social characters and behaviors. The credit for taking Saang to the pinnacle of popularity is attributed to Pandit Lakhmichand. He endeavored to embed Saang in the hearts of the Haryanvi people. Therefore, his contribution will always be remembered (Kumar, 2002).
For more detail : please visit and find the paper on ...
Swar Sindhu: National Peer-Reviewed/Refereed Journal of Music
A UGC CARE listed Journal
ISSN 2320–7175 (O) | Volume 12, Issue 01, January-June, 2024
http://swarsindhu.pratibha-spandan.org © The Author(s) 2024
ISSN 2320–7175 (O) | Volume 12, Issue 01, January-June, 2024
http://swarsindhu.pratibha-spandan.org © The Author(s) 2024
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