The Meghwals who are decedents of Meghmaru, are a Hindu community living in the Rann. They speak Kutchi and are culturally more linked to Sindh than mainland Kutch. Their traditional occupation was to skin the dead cattle of the Maldharis (cattle herders) and use the leather to make various products. Each village has its own Bhajan mandalis who sing Bhajans and Kafi with instruments like Ghada-Ghamela, Santaar, Manjira, Jhanjh, and Khadtal. This is a devotional song sung by Meera, the famous Hindu Saint, for Lord Kishna and Radha. Radha says, “My eyes are longing to see Krishna. When Krishna will come to the river Yamuna, I will be joyful to see him”.

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Kanudo Indho Valaae Suhagan - Sukaria Nar Fafal

The beats of the Dhol are an unfailing presence at all festivals and celebration across the regions. Either played to simply lift the mood as the backdrop of various activities or as the percussion for a dance performance, the instrument is utterly integral to the emotion of joy.

Gutkha - Om Prakash Dholi

Diggi Kalian Ji is a famous temple in Rajasthan dedicated to a much revered local deity lovingly addressed as the ‘king of the city Digg’ or ‘Diggipuri ka raja’. The song is sung in praise of the diet and commemorates a fair held annually at the temple precincts with the opening line speaking of the large drums and instruments (naubat-baja) played at the occasion.

Diggipuri Ka Raja - Manohar Brass Band

The life of a devotee is driven by the need to introspect and understand his soul. Performed by the solo performer, this bhajan blends the clanks of the Khanjira and the continuous rhythm of the Tandoora to celebrate the occasion of attaining spiritual insight that forms the very essence of life.

Mil Gayo Man Khario Nagina by Aamin Khan

The Bheth are short poetry verses ( 2-4 lines) written by Sufi saints to describe the nature of the path of spirituality. The Bheth style of music is distinguishable by singing at a high note but in a soft voice.  The accompanying instruments here are the Surando and Ghado. The theme in this composition is that Umer the king of Umerkot kidnapped Maarvi from the jungle from her friends and imprisoned her. Maarvi says: “O king I will pass my days in your palace any which way possible. I am not an object for your pleasure. I will return to my land and finally die there.”

Umer Aandhi Maarvi - Mustafa Ali Jat

This song is a narrative about Baba Deep Singh, a Gurusikh Warrior. When the Afghan army captured Amritsar Darbar, Baba Deep Singh wowed that he would reach the Amritsar Darbar. In the successive battle he was decapitated before reaching the Darbar. On being reminded of his wow by a passing Sikh, he supported his head with his left hand and continued to fight using his Khanda (double edged sword) in his right hand until he reached the vicinity of the Darbar where he passed away and thus fulfilled his prayer. This song is performed in the style of Sikh Dhadhi that uses the Sarangi, a bowed string instrument of India, and the Dhadh, a hand held drum from which the genre receives its name. The genre is characterized by valor inducing lyrics and rhythms and was evolved by the Gurus of the Sikh tradition to encourage people to stand fearlessly against all evil.

Vaar by Jasdeep and Harmeet Kaur

The Rawanhatta as an instrument aptly accompanies the melody of an excerpt that talks about the chief of the army expressing his inability to carry out the orders of legend Pabuji to search for His mare ‘Kesar’. It is more musical story telling than a song and there are multiple singers to bring about a sense of a continuing tale as they repeat some important lines or lead on to others. Each episode ends in a lilt and helps to aid the build up of another. 

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Pabuji Ka Parwada - Jogmaya - Kesar by GHEVARAM BHOPA

The Harmonium, Dholak & Khartal accompany this composition wherein a woman urges her husband to heed her call and come to her. Performed during Teej festival, this Manganiar jangda of festal celebration narrates how a wife expresses her love for her husband and conducts day long fasts to ask the almighty to bless him with good health and a long life.

Balam Ji Mharo - Multan Khan

Ramdev Pir the king who is considered an incarnation of Lord Vishnu, on the day of his Samadhi (highest state of consciousness when one is in total consonance with reality) calls all the saints and says, “Beware all! The times to come are not good. There will be handful of good people and a host of sinful people. All will reap what they sow, so do good deeds and beware of evil.” The Bhils are a tribal community and though the pressures of development have been successful in transforming their modes of livelihood, it is their culture and music that still lives as vibrantly as ever. They sing soulful Bhajans to the notes of Santaar, Manjira and Maan.

Aadu Panth Othaape -Vela Dhana Bheel

‘Nasihatein’ literally translates to advice and this Sufi piece brings forth certain patterns of behavior suited for an ideal living.  Bade vasoof se duniya fareb deti hai- the world ditches us with a lot of conviction and Bade khaloos se hum etbar kar lete hai- we trust it with a lot of pure heartedness. Dokha devega guroor tenu kade na kade- your beliefs and the pride you place in them shall let you down some time or another. karna chaida hai shor tenu kade na kade- you must raise your voice at one time or another. chad badiyan te neki da khayal kar le- stop doing bad deeds and think about doing some good. rab puchna tenu kade na kade- God will ask you at some instant or another. A classical rendition it is replete with spacetime of raga renditions. Such potency of poetry needs a depth of rhythm to bring forth its essence and though the lines sung are very few, the duration of the piece gives the right kind of room for conveying their multi-layered meanings.

Nasihatein - Raza

Raza's LIVE Performance @ WCCF 2012

From this desert region comes unique caste of musicians, Langas, whose main profession was to sing and dance for their patrons. Bachu Khan’s father performed yet for the Royal family of Jodhpur–Rathore Gharana. With the end of royalty state function of Langas, their music started to flourishduring all occasions including weddings, births, engagements and festivals. According to the Darbari (royal) tradition of several centuries Langas still sing love songs in their mother tongue, Marwari, depicting one’s longing for the lover, joy of reunion and hopes that lovers put in the future. Instruments in use are Sarangi (string instrument),Murliand Algoza (woodwind instruments), Morchang (Jewish harp) and Khartal (wooden castanet). 

Bachu Khan was introduced to music by his father, but his real master, who taught him Rajasthani folk repertoire was Haji B. K. Khan.  At the age of twelve Bachu Khan gave his first public performance and just a year later his first international show took place. Bachu Khan has given hundreds of performances abroad with his groups Maharaja, Musafir and Dil Mastana, until his passports were not able to accommodate any more stamps. Bachu Khan's high-pitched, open-throated, very powerful voice, supported by the backing vocalists is perfectly complemented by the woodwind and string instruments, forming a melodious and sensuous musical score.

Unique and valuable in Bachu Khan’s life and work is his ability to engage tradition and contemporary.Being the father of five daughters he wants to pass the music tradition to them, against the tradition of his community, where women are forbidden to perform music.He is always eager to experiment and improvise with different music styles, as he did by participating in Gypsy Caravan project and collaborating with Natacha Atlas, Duquende and Antonio "El Pipa", among others.








BACHU KHAN LIVE PERFORMANCE @ AWME 2012

Balvinder Mast, a singer/musician from Manjitha, Amritsar, personifying the meanings of the Hindi term ‘mast’- cool or fun- sings of love and separation set to the festive beats of a Dholak and Matka and the strains of Harmonium. He performs mainly in Majhi and Doaba, (Punjabi dialects) and his rich repertoire ranges from spiritual Sufi compositions offered at a Pir’s dargah (saints shrine) to the traditional lokgeet of Punjab. ‘Lokgeet’  is a genre that reflects the lives and times of ethnic groups across India. A recipient of the prestigious ‘Nur Puri’ award Mast’s musical style adheres to the ‘Yamla Jatt Gharana’ and acquires its uniqueness from the purely instinctive decision he took in a moment of introspection to follow music. He has since been performing at a variety of locales across the globe, for the last 20 years. Proficient at both the Harmonium and the Tumbi, (traditional north Indian stringed instrument) and armed with vocals that are as crisp as they are open throated and sensitive, his singing has a distinct rustic flavor. The lyrics speak of the torment of separation, the thrill of unification, the sense of abundance love cloaks one with and trace their origin to the songs of the farmer folk toiling in the fields of Punjab. Be it a dialogue between lovers or a tragic love story passed on in folklore, Balvinder Mast renders it with zest and passion, as is characteristic of this region and at the same time has a measured approach to his expression. 

Balvinder Mast - Lok Boli

The poetry of Sufi saints Bulleh Shah and Shah Latif comes alive in the vocals of Bijal Khan, a spiritual singer from the Meher community of Barmer. He renders Sufi Kalams in a mix of Sindhi, Urdu and Punjabi alongside the sonorous sounds of Kamaycha, Khartal, Harmonium, and Dholak. A Sufi Kalam manifests the Islamic philosophy of Sufism through a communion with the almighty and thereby attempts to interpret the nature of existence. The term ‘Kalam’ comes from the Arabic for conversation; the singer at all times addresses the divine authority which is referred to as the master, beloved or the truth at different instants across the piece. Extolling the virtues of justice, peace, unity, secularism and love the Sufi Kalam is the expression of an intense process of coming closer to the almighty and ultimately becoming one with it. Bijal khan is a practicing philosopher and conveys the themes of supreme authority of Allah, the unity of being and existence and the significance of spirituality for human life, in his compositions. At times he sings of tragic love stories too. He sweeps through a dynamic range of notes in a single rendition, in his characteristic high pitched, rustic voice.   

Bijal Khan - Allah Jane

Extremely popular in the region of Punjab and especially in Amritsar, Gurmeet Bawa, a Sikh, is a versatile singer whose repertoire includes the folk styles of Boliyan, Mahiya and Tappe which stand out from the genre of Punjabi Folk music owing to an exuberant, up surge of tempo and a rhapsodic informality. She was born in Kothe village of Punjab and learnt under Master Narendra Chanchal and has been performing for the last three decades. Her singing is a typical example of participatory, social music rendition where all who are present are incorporated into the festive flow. The Algoza, Matka, Dholak and Tumbi give it the quintessential upbeat Punjabi flavor which is enhanced by the incessant clapping by those present. There is conversation, tease, avowals and even sexual overtones to the songs that largely revolve around themes of romance, marriage, in-laws, festivals and seasons of Punjab etc. The lyrics are never stringently structured, all that matters is the punch line and its rhyme with the others- though the whole may almost sound like a limerick! Names of friends and relatives are put in into the verses and there is constant improvisation in this very intimate, simple style of creating and savoring music. The resounding depth of Bawa’s earthy, energetic voice is only matched by the zest and alacrity that her accompanists render the presentation with. Her long sustained singing of notes is an integral part of her style and imparts the performance with elaborate punctuations across its ecstatic space time. 


Gurmeet Bawa - Boliyan

Dr. Gurnam Singh is an exponent of the Gurmat Sangeet Tradition of Punjab, which belongs to the genre of Sikh devotional music. He sings eulogies in the Pwadhi tongue and Dilruba/Taus, Tabla, Rabab, Swarmandal, and Harmonium are played for the recital. A presentation of Gurmat Sangeet, which is an amalgamation of Indian classical music and folk tunes, is called ‘Shabad Kirtan Chowki’. The term ‘Shabad’ refers to the holy hymns of the Guru Granth Sahib (Sikh Holy Book) while the ‘Kirtan’ refers to a Sikh Devotional song. All Gurus from the first, Guru Nanak to the tenth and last, Guru Gobind Singh developed and perfected the Shabads and the Kirtans that accompany them. Dr. Singh was introduced to Kirtan at an early age by his father Bhai Uttam Singh and later studied under Professor Tara Singh of Patiala. Today he is a professor and head of the Gurmat Sangeet Department at the Punjab University. An expert musician and a scholar, he has performed at various locales in India and around the world and has published research books, papers and dissertations on Sikh and Punjabi music, with focus on the Gurmat Sangeet. He is singularly responsible for the creation of several courses, departments, libraries, archives and even festivals and competitions in the field. He sings in a soft, mellifluous voice that makes for a peace ensuing, sonorous and spiritual experience.

Gurnam Singh - Sodat Ki Chowki

This song has been composed and sung soulfully by Saida Begum. It explains that one’s every breath is shared with their beloved. In the Sufi tradition ‘the beloved’ can be understood to refer to God. The harmonium Tabla and Dhol are played as accompaniments.

Dum Dhola - Rabba Mereya

"Dzien dobry" meaning in Polish "Good day!" is the song improvised by Raza for his coming visit to Poland in Sepember 2012 :) ENJOY!

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Raza Khan - Dzien dobry LIVE

Murra Lala Fafal is a successive singer from a rural family of Marwada Meghwals, whose tradition of singing goes back 11 generations. In Kutch region as well as in many other regions, the traditional communities, children are taught to sing by older members of the family. Murra Lala started his musical education by playing Manjiras and singing. Already at the age of 16 has been acclaimed to be an exceptional musician. He used to perform only during festivals in Gujarat, but few projects he did with famous Indian classical and Bollywood composers, made his music more famous across India. He sings songs in Kutchi, depicting separations and reunions of lovers. His main inspiration are verses of Indian and Sufi poets (Kafi) referring to religion and attaining enlightenment, and devotional and philosophical themes of Bhajans.

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Murra Lala Fafal - Chalade aye rulaiyi

Sharif Idu is a Sufi artist from Punjab who represents four hundred years old Dhadhi, a tradition that originated from great Sikh guru Hargobind. Characteristic for his way of singing are abrupt yet extremely controlled breaks in melodic structure that blend with accidental notes played Sarangi (string instrument called ‘the instrument of a hundred colors’).

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Sharif Idu -Baba Bulleh Shah

Dalbar Singh is a Sikh scholar and music activist, who performs Malwai Giddha- a very old folk dance of Punjab. Dalbar Singh group, as per tradition of that genre, constitutes of men only. They simultaneously sing, jump, dance and play indigenous instruments to celebrate festive occasions. Dancers play various instruments while balancing them in such a manner to be able to dance while carrying it. Malwai Giddha is usually performed when the groom returns home with the bride and it is an informal collective celebration rather than a performance. The themes revolve around romance and relationships with family and friends thereby giving the performance its tease and enthusiastic raptures, accompanied by the furious beating of the drum called Dholki.

Dalbar Singh - Boliyan Begonar

From Thar desert region comes unique caste of musicians, Langas, whose main profession was to sing and dance for their patrons. Bachu Khan’s father performed yet for the Royal family of Jodhpur – Rathore Gharana. With the end of royalty state function of Langas, their music started to flourish during all occasions including weddings, births, engagements and festivals. According to the Darbari (royal) tradition of several centuries Langas still sing love songs in their mother tongue, Marwari, depicting one’s longing for the lover, joy of reunion and hopes that lovers put in the future.

Bachu Khan - Dhola-Loomba

The story of Kalbeliyas is an example of how the changes in society and culture influence traditional musicians and their lifestyle. From a region of Barmer in Rajasthan origins a nomad tribe of Gypsies called Kalbeliyas, which were traditionally known as snake charmers. They used to remove serpents from houses and trade snake venom. Women used to accompany men on their way of trade from house to house, as they begged for alms while dancing and singing. They used to give public shows as well, which included various snake tricks. Indian Wildlife Protection Act of 1972 brought a ban on snake performances so Kalbeliyas had to transform their shows – girls replaced snakes.
Mohini Devi group – representative of nowadays Kalbeliyas is an ensemble of about seven musicians who did not receive any formal education, but were instead learning music from an early age from their guru Kalunath Kalbeliya. They have gained international recognition and many of the dancers lived, performed and even taught this style abroad. In India Kalbeliyas are invited mostly for weddings, cultural programs and festivals. Mohini Devi group is also proficient at many other dances like Bhavai, Chari, Ghummar, Terah Taali and add on elements of fire shows and acrobatics in their performance.
Spheres of Kalbeliyas act are divided: men plays instruments and women dance. The main instrument is Been – an Indian woodwind instrument originally used to hypnotize snakes. It’s both plaintive and seductive tones are accompanied by beats of Dhap and Dafli, creating very energetic and compelling rhythms. Dancers wear traditional black ankle-length skirt and top. Both are richly embellished with colorful strips and complemented with beautiful jewelry made from tiny pearls and silver hangings. Outfit completes a dupatta – a long loose flowing stole pinned to dancers’ heads. Kalbeliya dancers spinning fast, swaying their hips, swirling tassels and shawl can mesmerize viewer for long hours

Mohini Devi Kalbeliya -Rupiya

As the lead vocalist of a group of nine performers, Gurmej Raja is a Sufi Qawwal – a devotional singer who sings compositions in praise of the almighty and holy saints to the tunes of Harmonium, the rhythm of the Tabla and clapping. The Qawwali style of music, having originated in 8th century Persia, is conventionally performed at the Sufi shrines and dargahs all across the vast subcontinent now and is the exuberant expression of heightened spiritual ecstasy. Replete with strong secular and sometimes self-indulgent views it is traditionally sung in Urdu. Raja belongs to the Rasulpur village of the Gurdaspur district of Punjab and learnt from master Bakhshir Raslpuri and the famed Vadali brothers. With a rustic, open-throated voice he conducts the Qawwali, also known as Mehfil-e-Sama and the backing vocalists adorn the style by repeating the key verses thus bringing about a sense of building up and further imploring the almighty. This heightening of tempo and passion are physical manifestations of the intangible wish to sever all bonds to perceived reality and lose the self in a rhythm that helps one to be in tune with the cosmos. The crescendos are punctuated with moments comprising of vocal or instrumental acrobatics and/or recital of a verse, that are of a character outside the signature rhythm to further accentuate the upsurge toward a cathartic, orgasmic moment of unity with the sublime.

Gurmej Raja - Amir Khusrao

1.	Sufi poetry is sung in multiple ways in India and the Sufi Kalam is one of the most common renditions as compared to the rare genres of Bheth and Waai that have very few living exponents. Also this style is less fervent than the Qawwali and can be sung in both classical Ragas or to folk rhythms. There are Sindhi and Muslim variants to the style that also acquires typical traits from region to region and in terms of the instruments employed in each case. The genre is thus identified more by the poetry that is sung and less by any particular style of music integral to its character.  ‘Kalam’ is a term for poetry and etymologically derives from the Arabic word for conversation. A poet gets into a communion with a muse and slowly unearths its character and the statement of this exchange is a work of poetry. The Sindhi and Mehar Sindhi communities that inhabit the extremities of the Barmer and Jaisalmer regions of Rajasthan on the border of India and Pakistan, are one of the many exponents of the Sufi Kalam style of music. Deriving from the words of Sufi poets like Shah Latif, Bulleh Shah and SachalSarmast, this music explores the meanings and modes of spirituality. Algoza, Kamyacha, Khartal, Dholak and Sindhi Sarangi are used in the performances that are conducted either on significant festive occasions or even upon invitations by patrons. 

Saleh Mohammad - Ratadli

De Kulture Music was founded to develop a meaningful entertainment resource that endorses artistic expressions of people in creative ways.We pursue the aim of preserving the authentic music of India by developing local music making practices. De Kulture also work towards bringing revenue to the communities and encourages artists to keep alive their rare music styles.We also strive hard towards exchanges between different cultures.

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