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RIFF 2010

JJodhpur RIFF is a partnership between the Jaipur Virasat Foundation (JVF) and Mehrangharh Museum Trust. Their shared mission is to foster social cohesion and an inclusive, sustainable economy in Rajasthan.

Through village festivals, urban performances and creative workshops, JVF is a catalyst for new livelihood opportunities for traditional artists of Rajasthan. With the support of local communities, donors, government agencies, NGOs, and others, JVF and MMT seek to protect and promote Rajasthan’s indigenous cultural heritage. JVF was recently accredited as an advisor member of UNESCO’s Intangible Cultural Heritage Committee.

Living Legends is a short book which highlights some of the performers and collaborations at this year’s Jodhpur RIFF. This booklet includes:- A glossary of Rajasthani instruments- Interviews and stories about the Living Legends performers- Histories of the collaborations showcased on RIFF 2010’s main stage- Colour photographs of performers and instruments

introducingRIFF

Living Legends was made possible by months of hard work from JVF staff and immense cooperation by artists. The interviews, photographs and research into art forms that made this book are a product of JVF’s devotion to Rajasthani folk heritage.

INTRODUCTION & CONTENTS

GLOSSARY pg.4 folk terminology on instruments, music & communities LIVING LEGENDS pg.6 Rukla, Akla & Darya Manganiyar; Pempe Khan; Patashi Devi Bhopi; Chanan Khan Manganiyar RIFF COLLABORATIONS pg.9 Pete Lockett; Susheela Raman & Sam Mills; Sona Mohapatra

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GLOSSARY

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ALGOZA: Two flutes, played simultaneously, give the Algoza its distinctive and mesmerizing buzz. The player uses circular breathing to play.

BHAPANG: The ululating sound of the Bhapang comes from a small string fashioned from animal intestine, attached to the underside of the drum.

BHOPA: Members of the Thori community, Bhopa are either itinerant or attached to specific temples. Bhopa recite phud, epic poems (often the story of Pabuji, a local saint) which can last days at a time accompanied by emotive notes from the ektaara.

CHANG: Usually seen around Holi in Shekhawati, the chang is played by hand or with a small stick attached to the finger.

DERUN: The hourglass-shaped Derun has strings tied between either face. A loop around the rings allows the drummer to change the Derun’s pitch.

EKTAARA: The Ektaara is a simple one-stringed instrument plucked by minstrels, mendicants and widows across Rajasthan. It is fashioned from a single strip of bamboo attached to a large gourd.

KAMAYACHA: Like the Saarangi, the Kamayacha is a four-stringed wooden instrument with nine Jhara which allow the deep, throaty sound to be controlled by the player.

KHARTAL: Four thin, oblong pieces of wood are held between the thumb and palm of each hand to produce intricate rhythms or taal.

LANGA: Like the Manganiyars, the Langas are a

professional, hereditary singing community from Jaisalmer and Barmer. Langa music is typically accompanied by the Sarangi. The Surnaiya Langa sub-caste only performs instrumental raga.

MANGANIYAR: The word ‘Manganiyar’ refers to several communities clustered in Barmer and Jaisalmer near the border with Pakistan. The Manganiyars, like the Langas, make music with classical and folk elements. Manganiyar singers play an important role in their communities, singing devotional, ceremonial, and epic raga. Unlike the Langas, the Manganiyars use the Kamayacha for musical accompaniment.

MORCHANG: Those familiar with the Jewish Harp will recognize the Morchang as its wrought-iron cousin. It can only produce one note, but different tones are produced by changing the size of the mouth.

MURLA: The Murla consists of two tubes attached to a gourd. The player uses a technique of continuous blowing (nakasaansi) to create the distinctive hum.

NAGARA: This instrument actually consists of two conical drums, the smaller emitting the maadi or female voice, and the larger a deep tone. Buffalo hide is used to cover the larger drum, and camel hide the smaller.

SARANGI: Derived from the Hindi words sau and rang, meaning ‘hundred’ and ‘colour’, respectively, the Sarangi has a comprehensive sound. Significant in India’s folk and classical traditions, the Sarangi is the most difficult instrument to master.

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FOLK ARTISTS

livingLEGENDSCHANAN KHAN MANGANIYAR

During the floods last year, the first thing Chanan Khan saved from his house was his kamayacha. For Chanan, music is the most important thing in his life. Hailing from Barma, he has been playing since he was 12. His repertoire of instruments include the kamayacha, dholak and harmonium.

“People are proud of their overflowing dinner table, bank accounts and knowledge,” he says. “Just like the sea is proud of its vastness. But all pride is lost when they listen to raga.”

He hopes to pass on his proud appreciation of traditional music to the next generation.

“Music hasn’t given me much,” he says, alluding to the simple life he leads. “But people who learn from me have much to gain.”

all pride is lost when they listen to raga.“

Pempe Khan Manganiyar is 60 years old. Pempe initially chose to play his grandfather’s instrument, the Shahanayi, rather than his father’s Kamayacha.

He is an accomplished player of the Murli, a flute made from wood of the Bas tree. The Murli is related to the Basuri, the flute commonly associated with Krishna, who played it for his female followers (gopi). Although the Murli is traditionally associated with Langa musicians, Pempe comes to RIFF recommended by the Langas as one of the best Murli players alive.

“My favorite memory was performing in front of Krishna Byas, the famous Bhawai dancer,” Pempe says.

Traditionally, Manganiyar women do not sing in front of men or in public. When Rukma Manganiyar began to sing for an audience, she was expelled from her community and abandoned by her husband. However, as she began winning prizes and certificates of merit throughout Rajasthan, Rukma inspired her sister Akla and childhood friend Dariya to perform alongside her.

Patashi Bhopi’s late husband, Mohan Bhopa, was a great artist and friend of JVF. The two formed an astonishing partnership, reciting the legend of Rajasthani folk deity Pabuji with song and story sessions that lasted all night. Sadly, Mohan passed away a few years ago, and life has become more difficult for the family. At RIFF 2010, Patashi Devi performed with her son Bhanwa!a Bhopa on the traditional Bhopa instrument Rawanhatha.

PATASHI BHOPI

RUKMA, AKLA & DARIYA MANGANIYAR

PEMPE KHAN MANGANIYAR