There were many memorable moments at this year’s Sacred Spirit Festival, held recently at multiple venues around the Mehrangarh Fort in Jodhpur. Audiences, mostly from far off locations, witnessed a musical treat that was often more than an auditory experience.
Men in swirling red skirts doing the rhythmic Gair dance at the sacred spirit festival 2024. | Photo Credit: Courtesy: Mehrangarh Museum Trust
From Shehnai players, who have had the instrument’s celebratory sound in their family for 350 years (Shankar Brothers), to the synchronised voices of Kelam and Dariya, two sisters who sing the songs of saint-poets such as Kabir and Ravi Das in the Rajasthani bhajan tradition; from folk music by the Manganiyar and Langa communities, whose songs inhabit more than one country, to flamenco rhythms from Spain; from men in swirling red skirts doing the rhythmic Gair dance to the luminous Sufi whirling dance of the Nile, the festival was a multi-course musical spread. The early morning concerts brought warmth and relief from low temperatures that added a punch to the musical – and occasionally – movement-based offerings.
Set against the marble backdrop of Jaswant Thada – a 19th century cenotaph architecturally influenced by both Rajputana and Mughalai styles, these concerts brought tunes from Tibet, Barmer and Varanasi. India born, France-based Tibetan artiste Lobsang Chonzor presented endearing song and dance sequences, switching with ease between multiple instruments. He managed to get a slightly groggy audience up on their feet and happily dancing to his soothing chant.
A music performance with the majestic palace in the background. | Photo Credit: Courtesy: Mehrangarh Museum Trust
The early morning concert by Kelam and Dariya from Barmer (Rajasthan) on the last day of the festival was special. Still in their teens, the sisters held the stage with ease and skill. Accompanied by instrumentalists including their father and teacher Shera Ram Leelawat, they sang fakiri songs, as well as those by well-known and lesser-known nirguni composers. Their rendition of ‘Mann laago yaar fakiri mein’ flowed like a dance.
Their father shared that he decided to train them in music because he noticed their flair for picking up songs. After they won a music scholarship, which paved the way for a music video that went viral, the sisters have been training with their father. As they live in a remote village near the border, there are few opportunities for them to train in classical music, said their father. Hence, he decided to teach them all the spiritual songs he had learnt from his father. “Songs that do not divide people or preach any particular religion but speak of unity and the importance of one’s inner journey.”
“People do say things about me letting my daughters sing in public but I am a teacher and I know how rare this is. Looking at them, other girls are inspired to learn too, and they want to know how to get a tanpura – which is a traditional instrument carried by Narada and Saraswathi in our mythological stories,” he said. Kelam and Dariya are looking forward to their first concert in south India (Calicut, Kerala) soon.
Parvathy Baul performing at the Sacred Spirit Festival 2024. | Photo Credit: Courtesy: Mehrangarh Museum Trust
Engaging performances
Chokelao Bagh, a restored 200-year-old garden lined with fruits trees and heritage structures within the Mehrangarh Fort premises, was another choice location for some of the events. The performances that stood outwere by Madan Gopal Singh and Chaar Yaar Ensemble; the poetic sharing by Parvathy Baul; the vibrant Pabuji ki phad presentation by Ravanahattha exponent Sugna Ram Bhopa and Manvari Devi (whose voice rung out from under her ghunghat), the impossibly nimble-fingered music made from the nomadic lute by Eleman Kanybekov and Kamuz Aibek Kanybekov from Kyrgyzstan with Ilyas Arabov from Uzbekistan playing the dutar, and the syncretic songs by Pape Khan, Delawar Khan and troupe.
Eleman Kanybekov and Kamuz Aibek Kanybekov from Kyrgyztan playing the lute accompanied by Ilyas Arabov from Uzbekistan on the dutar. | Photo Credit: courtesy: Mehrangarh Museum Trust
A grouse one felt was that some of the performances by local artistes were given late afternoon or late night slots and had a thin showing from the audience, possibly because of the packed schedule. And though the emphasis on musical traditions passed on from “father to sons” (as per the Festival’s artistic director Alain Weber) brought rich rewards (like in the Bansuri concert by Pt. Rajendra Prasanna and the excellent concert by Pt. Vishwa Mohan Bhatt), one wishes to see practitioners from other genders, including seasoned women artistes (both local and international), holding centre stage in such a festival.
Shubha Mudgal performing at the Sacred Spirit Festival 2024. | Photo Credit: Courtesy: Mehrangarh Museum Trust
Myriad genres
Speaking of which, the concert by Shubha Mudgal on the Festival main stage – the Zenana Deodi Courtyard (terrace of the Mehrangarh Fort that afforded a stellar view of the moonlit night sky and of Jodhpur city) — was riveting. It was fascinating how her relationship with each composition that she rendered, unfailingly shone through. The other performances that left a deep imprint included Mukhtiyar Ali and team’s sharing of popular songs like ‘Bhala hua meri ghagri phooti’, ‘Dum-A-dum mast kalandar’ and ‘Chaap tilak’ among others; his collaboration with Cherif Mbaw from Senegal who sang in the Wolof traditions while playing characteristic guitar rhythms; and the effortlessly charming sarod concert by Amaan and Ayaan Ali Bangash with Pedro Javier Gonzalez adding delicious layers with Flamenco styled guitar melodies.
It was a treat to watch artistes from different cultures perform collaboratively again at the end of the festival. | Photo Credit: Courtesy: Mehrangarh Museum Trust
The culmination of the festival was spectacular with almost all the artistes appearing again and performing collaboratively across countries and cultures. The take home images were too many to list though the beat-boxing by Ilyas Khan, the intermingling of the dutar (by Ilyas Arabov) with songs from Anwar Khan Manganiyar and troupe and the Kanybekovs’ skilled playfulness on the nomadic lute – merit mention.
The festival ended on a wondrous note as the Sufi whirling dancers from Egypt held the audience in thrall for over 15 minutes, their human forms seemingly transforming with every whirl into orbs of light.
