CHINAR SHADE : ". VANVUN TA VEEGIS NATCHUN " KASHMIRIAN FOLK CHANT AND DANCING AROUND THE COLORFUL RANGOLI IN A KASHMIRI PANDIT MARRIAGE CEREMONY

VANVUN TA VEEGIS NATCHUN

KASHMIRIAN FOLK CHANT AND DANCING AROUND THE RANGOLI

In my previous post , i have already explained the significance of a VYOOG or RANGOLI in a kashmiri Pandit marriage ceremony . The oldest tradition of dancing around the marriage VYOOG or RANGOLI continues to remain with kashmiri Pandits till date . Known as VEEGIS NATCHUN , this is done by ladies in the house and is typical to Kashmiri culture. When the bride groom leaves to the Bride's house for LAGAN , He is made to stand ( facing east ) on the colorfully decorated VYOOG ( RANGOLI ) while an elderly woman relative brings a plateful of burning lamps made from powdered rice flour . This particular lamp is known as RATTAN -TCHO'NG in kashmiri The plate also has a piece of Naabad or Candy ( Now Barfi ) and a glass of water .

( Oil Lamps ( Diya ) made from Rice Powder )

After taking the plate around the head of the bridegromn, she throws away the water from the glass and offers the piece of Candy to the Groom.This ritual is meant to invoke blessings of Surya ( Sun God ) and ward off evil eyes as the bridegroom leaves for the bride's house . In olden days , a pair of pigeons was held in hand and moved over the bridegroom’s head and then suddenly set free seeking blessings from skies above . Coins are also thrown over the bridegroom as he left for the bride’s house .

The moment the bridegroom leaves for Bride’s house , his Mother , Aunts , Sisters and other ladies in the house dance around the VYOOG OR RANGOLI singing verses depicting their love for the boy and wishing him happiness and Bliss . One lady stands in the centre of the VYOOG or RANGOLI while the rest dance around singing and showering flower petals over her . All these dancing women or girls take their turns to stand in the centre of the VYOOG or RANGOLI while the rest keep dancing , singing and showering flower Petals . This dancing is accompanied by *VANVUN but with little a faster tempo.They also Congratulate and Bless each other while they sing and dance . The women also express their love for parental home , Parents , brothers , sisters and how they miss all that unmarried life .

Through these songs , women also express their attachment to Dejhurr ( a symbol of Suhaag for a married girl ) and Sona Daav ( Mangal Sutra ). So intense, moving and emotional are the VEEGIS NATCHUN songs that these bring tears in many eyes . .

I quote some lines from this particular VANVUN singing with simple English rendering ..

“Chhattrus Tchaanis Sonna sundh Zoluyi

Yendhraazun Yeni-voluaaai Draav “

“With golden threads hanging

Over the Decorated cover ( Umbrella ) over his head ,

Here moves Lord Indra’s Baraat “

“Sona daav Gandeim ta dil hai go’m taaza

Bronth Bronth Draamai Saa’ba maharaazai”

“ Today I put the golden thread around my neck

And my heart feels fresh .

Look ! Here departs my darling son to get his bride .”

“Haae’r Draayi Naatchiney Saae’r Soa’nna Seinziye

Haae’ri Gatchheim Dejhurr Sueti Sonna sundiye ..”

“Wearing Golden jewellery ,

This Mynah like girl is out to dance.

Now she needs a Dejhurr ,

But surely made from shining Gold”

" Me chhum Bubb Laalein sathha

Rathh Ha Vandaai Maaleinyo"

" For me , you are the treasured possession Dear Father ,

O parental Home ! Here i bleed for you "

"Korrein Rozun Reithhaa Patchhaa

Baayi Myaanyo Laggayo

Koothis Tchaniss Karrun Gatchha

Baayi Myaanyo Laggyo"

" How Long ? A Month or a fortnight ,

We girls have not to stay more at parental home ..

My darling Brother ! This life for you .

We are here to decorate your room tastefully ,

My darling Brother ! This life for you .”

Kashmiri Pandit Ladies also dance around the VYOOG or RANGOLI in a similar manner once a Yageopavit or Sacred Thread ceremony is over and the Boy ( Mekhala Maharaaza ) departs to the Temple along with the family priest .This age old Tradition of VEEGIS NATCHUN has been carried down to the present day from VEDIC PERIOD.

(Yageopavit ceremony in a Kashmiri Pandit family )

The VANVUN singing performed in kashmiri marriages has its firm roots and origin in SAMA VEDA . During Vedic age , people devotedly chanted verses from SAMA VEDA to perform religious rituals and cermonies so as to invoke the blessings from Agni, Indra and Soma .

According to Prof. P N Pushp ( Sanskrit Scholar ) ,

“ The conventional rendering of HENZEY ( VANVUN ) in kashmir is a reminiscent of the SAMA VEDIC legacy which seems to have lingered on in the valley as an interplay of traditional tones accented ,unaccented and circumflex. Exactly in high pitch , low pitch and a pitch peculiar to SAMA recitation. Obviously , the old SAMA chant underwent a series of transformations during its transmission at the folk level and reached us as an echo of the ancient convention trans-shaped by various pressures of innovation in tune with the changing times . The echo thus preserved in the HENZE has become a vital link of the flexible present with stratified past ."

Here I need to add that kashmiri Pandits would start VANUVUN chants with SHOKLAM or SUKLAM derived from the the popular Sanskrit Sloka “ Suklam Bhardaram Devam… “ . This sloka is chanted by Hindus for Bliss and happiness and known as Mangal Sloka . So the kashmiri pandit Vanvun traditionally begins with HENZE ( Meaning come ladies assemble or Dear ladies chant . It is addressed to a group ) followed by the common verse” Shoklam karithh Heyatov Vanuvunaye ….” followed by verses meant to be chanted for various ceremonies and occassions .

Henze……..Shoklam karithh Heyatov Vanuvunaye

Shub Phal Deut maejji bhawani ye

( Listen You ladies .. Begin with word Suklam

And start Chanting of the VANAVUN Verses .

Mother Bhawani has granted a boon to us )

With the arrival of Islam in kashmir , vanvun also underwent some changes to suit the socio- religious aspirations of the section of the kashmirin society that had adopted the New faith. Muslims discovered BISMILLAH as a suitable term and comparable for word SHOKLAM or SUKLAM . The Ceremonial VANVUN also underwent religious colouring on account of different rituals and religious ceremonies of native Hindu and Muslim population.Inspite of these changes , the context and emotions in the verses ( Especially chanted during marriage ceremonies ) remained almost common . This ensured a collective participation of Hindus and Muslims in Marriage Vanvun . Muslim women started their ceremonial VANVUN chants with word BISMILLAH followed by the common verse equivalent in meaning to “Shoklam karithh Heyatov Vanuvunaye ..Shub Phal Deut maejji bhawani ye “ followed by verses meant to be chanted for various ceremonies and occassions . This is how the common opening verse finally turned up in Muslim Vanvun Chants …

“Bismillah karithh Hemav Vanuvunaye

Saahiban Anjaam Onuyae .”

“Saying Bismillah , Let us begin the vanvun Chants ,

Our Lord has finally brought this day for us .”

( Autar Mota )

*VANVUN is an oral literature accumulated over centuries in kashmir and comprises of songs that have mass appeal. These songs are sung by women during festivities and marriages across the religious divide . We find ladies ( Both Hindu and Muslim ) singing these songs in marriage rituals , circumcision of the male child in Muslim Families and Yageopavit ( Sacred Thread ) ceremony in Pandit families . This singing lends grace and a Holy Aura to the ceremony .In kashmir, Vanvun has survived as a part of Folk Literature essentially preserved and protected by women through a simple oral tradition.