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

                                                                         

                                     

                                                                          

 VANVUN TA  VEEGIS NATCHUN 

             OR

 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.

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LIKE GREENERY , WE KEEP COMING AGAIN AND AGAIN.

                                                                    

CHILDREN
(Mobile Photo Autar Mota )

"Hamtchoo sabzaa Baarhaa Roeidhaa imm"

Rumi..
Or

"Like greenery, We keep coming again and again "

And so does poet Ali Sardar Jafri say in his celebrated poem "Mera Safar".He feels that he shall keep visiting this beautiful earth again and again even after the mortal frame mixes with the dust of mother earth ......I add some lines from this poem.

Lekin me yahaan phir Aaoonga
Bachon ke dahan se boloonga
Chidiyon ki zubaan se gaaoonga
Jab beej hanseingay dharti mein
Aur konpal apni unglee se
Mitti ki tahon ko chheidaigi
Me patti patti Kali Kali
Apni aankhein phir kholoonga
Sar sabz hatheli par rakh kar
Shabnam ke katrey toloonga

Lekin me yahaan phir Aaoonga
Bachon ke dahan se boloonga...

.(Autar Mota)

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DID YOU TRY "GHULAM RASOOL AND SONS " IN JAMMU ?

                                                                                       

GHULAM RASOOL AND SONS, VIR MARG, JAMMU.

 

This is perhaps the oldest and the best address in Jammu to get an elegant three piece suit stitched.

In Jammu , I find no match to S C Sharma and Sons ( Link Road and Shastri Nagar , Jammu) in so far as shirts ,trousers , Kurta Pyjama and night suits stitching is concerned. However , I admire coat stitching of Ghulam Rasool And Sons, Vir Marg Jammu . The coats stitched at this shop are simply elegant ,fit and tidy .Some of features of the coat stitching at this shop observed by me are worth mentioning.I quote:--

 

(a) The lining of the coat is perfect and the entire attire is lined with one cloth of superior quality.

 

(b) The coat will always have a good rest and fit on the wearer’s shoulders.

 

(c) The coat will fit perfectly around the lapel and chest area . It will not have any creases or tension on the fabric that pulls inward on one's body.

 

(d) The collar of the coat will not have any fabric bunches or folds at the time of the movements of the wearer .

 

(e) The tailor does some pick stitching by hand on coats stitched .It runs along the edge of the coat and around the lapels and pockets .

 

(f) The handmade buttonholes, rounded corners and canvassing layers give a perfect look and durability.

 

I was introduced to this shop by a friend three decades back. I remain an admirer till date.The grandson of the great master Ghulam Rasool has added more to this heritage tailoring shop.By more additions, I mean ready made garments especially coats, suits, blazers, tweeds,Sherwanis, Mao jackets ,stylish Pherans , waistcoats ,overcoats and designer shirts. Add to that , a wonderful computerised database of regular customers has also been created at the shop.

Established in the year 1975, Ghulam Rasool & Sons is a  one-stop destination servicing customers  of Jammu. The firm has opened  a  showroom  at Rajbagh ,Srinagar.

                                

You find salesmen handling laptops to locate your suit from your mobile number should you forget to bring your bill. Try once to believe me what I say. This shop had Sheikh Mohammad Abdullah, G M Sadiq, Bakshi Ghulam Mohammad , D P Dhar, Syed Mir Qasim, Pt. Trilochan Dutt, Shiv Narain Fotedar ,M N Kaul, Justice Wazir and many VIPs as regular customers.The list could go endless .

 

I end this mini post with lines from Ali Sardar Jafri's poem" Haathhon ka Taraana"

 

Hain zakhm hamaare haathhon ke ,

Ye Phool hain Jo guldaanon mein.

Sookhey huvey pyaase chullu thhay,

Jo jaam hain Ab maikhaanon mein.

Tooti huyi sau angdaaiyon ki

Mehraabein hain Aeyvaanon mein..

Inn haathhon ki taazeem karo..

Inn haathhon ki Takreem karo

Duniyaa ko chalaaney vaale hain

Inn haathhon ko Tasleem karo..

 

 

(Avtar Mota)

 

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KANNEIY SHRAAN OR SACRED PURIFICATION BATH IN KASHMIRI PANDIT MARRIAGE

                                                                                   

                                       

           ( Mobile Photographs by Autar Mota )

Kanneiy  Shraan (The sacred Purification Bath)

Koonzan Tcho'nn cheiyee kanikke cho'raai,
Go'rr tai moa'll chhuyee go'dd diwaan.

( Four little girls stand at four corners,
While your Guru and father put water over you)

So sang the ladies in their Vanvun (traditional singing )..

Kanneiy Shraan is an important ritual in a marriage ceremony of a Kashmiri Pandit boy or girl. It is performed before the marriage day or Lagan ceremony and forms  a part of the  Devgun (invoking blessings of gods) ritual. The would be  bride or bridegroom is given a bath by the priest and the father with water that has milk ,honey and flower petals. A cloth is used to pour water and this cloth is held straight by four little girls standing at four corners. Thereafter the   would be bride or bridegroom's maternal aunt (wife of mother's brother) applies curd or   turmeric paste to the would be bride or bridegroom to give him or her  another fresh water  bath .  The would bride or bridegroom is then dressed up and brought to Devgun venue by his or her Mama (Mother's brother) .

 

(Avtar Mota )

  Curd has been used since ancient periods for skin treatment especially to  prevent wrinkles and aging. It is also prescribed by present day Ayurveda doctors.  It has been established scientifically that the lactic acid present in the curd helps in shedding the dead cells from the skin and also fights against wrinkles and early signs of aging. Apart from this, the lactic acid also helps moisturize the skin leaving it soft and supple.

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RANGOLI OR VYOOG IN KASHMIRI PANDIT CULTURE .

                                         

                                 

  

            

 

 

VYOOG OR RANGOLI

 

( Kashmir Pandits  drawing a Vyoog or Rangoli In a marriage ..Mobile photo ..Avtar Mota )

 

"Dedi Tossa Kotnuss ropp Yendrus tai

Naabud aapraav Ramchandruss ..."

 

 

(His grandmother has spun fine Tossa cloth

on her silver spinning wheel ,

now put something sweet in Sri Rama's mouth.)

 

These lines i heard in a marriage function from an elderly women as part of the Vanvun ( traditional singing ) she recited when the bridegroom was brought to VYOOG ( Rangoli ) and made to stand over it prior to his departure to the bride's house for the auspicious Lagan or Vivaha . He stood inside the circle of the Vyoog that had images of flowers and leaves drawn with dry colors. An elderly woman relative brought a piece of Barfi ( sugar candy or Naabad of olden days now replaced by Barfi) and offered it to the boy. 

 

THE SIGNIFICANCE OF VYOOG OR RANGOLI 

 

Noted Sanskrit scholar, Dr. Ved Kumari Ghai writes this :-- 

 

“ The Nilamata Purana testifies to the existence of the art of painting in ancient Kashmir. In connection with the celebrations of Buddha’s birthday festival, the people were directed to decorate Chaityas with beautiful paintings. References are made to paintings painted on cloth, the wall, and the ground. Bumisobha or decoration of the ground with paint seems to have been a necessary item of most of the religious and secular functions. *Vyoog – a circular pattern drawn on the ground on which a Kashmiri bridegroom has to stand before entering, for his marriage, the house of the bride, is a direct descendant of Bhumisobha mentioned in the Nilamata Purana .”

 

( ‘The Nilamata Purana’ by Ved Kumari Ghai .. volume 1 ..page 115 )

 

Kolam in Tamil Nadu , Alpana in West Bengal, Jhoti or Chita in Odisha, Muggulu in Andhra Pradesh, Aripana in Bihar and the colourful Rangoli in the North India are akin to the Vyoog of Kashmir. All these decorations fall in the category of Bhumisoba or Vyoog drawn by Kashmiri Pandits.

 

Geometrical shapes drawn with bright colors at the entrance during festivities and marriages are auspicious symbols meant to ward off evil. Apart from this , it is believed that these colorful drawings known as RANGOLI in India and VYOOG in Kashmiri Pandit society , bring happiness and bliss in the household as also in the personal lives of people who gather around it or stand upon it or dance around it. This custom prevailed with ancient Greeks as well. There is a mention of Rangoli in Ramayana as well . In India , it has its roots in Rig Vedic civilization.

 

Apart from India , drawing Rangoli is a part of festivities in many Asian countries including Bangla Desh , Indonesia , Sri Lanka , Malaysia , Thailand and Nepal. In Tamil Nadu , KOLAM OR Rangoli has been developed as a folk art with varied designs and patterns representing geometrical shapes combined with images of deities , leaves and flowers .

 

For Kashmiri Pandits , Vyoog or Rangoli is a rich tradition that is made live in marriage or Mekhla ( Yageopavit ) ceremonies . I am informed by many elders that rice powder , turmeric , Surkhi ( red brick powder ) , vermillion ( Sindoor ) and dyed saw dust were also used to prepare Vyoog before the arrival of synthetic colors . Rangoli colours are now sold by shopkeepers all over the country . Even ready made paper or plastic Rangoli is now available in the market . These ready to fix designer Rangolis have adhesive surfaceand easily stick to the floors . In spite of this convenience , Kashmiri Pandits still prefer to draw Vyoog manually using colors and making geometrical designs and patterns .A circle is the basic geometrical pattern in Vyoog or Rangoli. This circle is filled with images of flowers and leaves . An image of a earthen lamp or Diya is also drawn .The circle represents the Mandala ( universe ) as it appears in Rig-Veda . This circle or Mandala is believed to be a symbol of perfection, eternity, unity and completeness. A Mandala is also cosmic drawing that reminds us of our relation to perpetuity, extending beyond and within our bodies and minds. The flowers and leaves represent bliss and life while the lamp represents light of knowledge . Kashmiri Pandits always bring a burning lamp to the Vyoog . At the time of the marriage , the bridegroom is made to stand on the Vyoog ( both at the time of departure from the house or at the time of entering back to the house with bride ) and something sweet is offered to him and the bride by some elderly woman in close relation . Women sing traditional Vanvun and dance around the Vyoog for prosperity and happiness of the couple . 

 

I found this practice of Vyoog or Rangoli prevalent with Balinese people as well. The circle drawn by them in the Rangoli has a central symbolic image of Mount Meru .

 

Late Rajinder Singh Bedi specially wrote Rangoli scene for his 1962 movie RANGOLI . And we remember Hasrat Jaipuri's song " RANGOLI SAJAAO RE “ sung in Kehrava Taal by Kishore Kumar .

 

( Avtar Mota )

 

 

 

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WELL KNOWN DUTCH PAINTER VINCENT VAN GOGH AND KASHMIR'S MYSTIC SAINT POETESS LAL DED ( LALESHWARI )

                                                                

WEEPING WOMAN / WOMAN IN MOURNING 
                        BY
  Renowned Dutch painter Vincent van Gogh( 1853-189 ).

I am tempted to add a lal Vaakh ( Four line Poem ) to this master piece. Vaakhs have been composed by Kashmir's tallest Mystic  saint poetess Lalleshwari popularly known as Lal Ded. Venerated by Himdus and Muslims alike  , her eternal poetry was treasured by masses for centuries in  oral tradition before it was finally put on paper .She lived sometime during fourteenth century . She was a leading expounder of kashmir's Shaivism ( Shaiv Darshna ) and Tantra . She was the first poet of kashmri language. To her goes the credit of bringing    NOTHINGNESS, DEATH CONSCIOUSNESS and  VEDIC PRINCIPLE OF NETI NETI  into kashmiri poetry .

Lalithh Lalithh vadaai Boh Vaai
Tchietaa Muhutch Peyii Maai
Rozii Na Pataa Loh Langareitch Tchhaai
Niz Swroof Kyaah Mothuaai Haai
( Lal Ded )

My simple English rendering would be as under …

“ I shall sob and sob for you ,
O Mind ! How you fell to this worldly greed ?
Not even the shadow of this shall hang around at the end .
O Mind ! Why you ignored the real self within ?

( Autar Mota 



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MAHARAJ SANTOSHI'S WONDERFUL POETRY COLLECTION " THE CHINAR IS MY ADDRESS"

                                                                                       

Reading Maharaj Santoshi's Hindi Poems in English translation ..Wonderful job done by Arvind Gigoo with his apt , to the point and perfect translation.

I felt as if I was reading my favorite Kurdish Poets . The original thought and presentation by Santoshi and then the equally enthralling translation by Arvind Gigoo , keeps a serious lover of poetry engrossed.The book has a fifteen page forward by Dr Shashi Shekhar Toshkhani that puts forth a lucid  and analytical commentary on  this poetic collection.Dr Toshkhani has also taken up some individual Poems from this collection and skillfully  evaluated  the deep rooted  exile consciousness  appearing in  Maharaj Santoshi's poetry.

Kudos to the poet and the translator and Dr S S Toshkhani.

I quote from this book of poems..

(1)

Santoshi uses the title of Manto's famous short story " Toba Tek Singh " to convey something serious about the conflict and the divide that has been gripping this subcontinent.

(Toba Tek Singh)

Across the border
In presence of the soldiers
Even today
the voice of Toba Tek Singh
Echoes
Against those
Who divided the shade of trees.

The soldiers are standing
In attention
Unable to catch
The soul of Toba Tek Singh.

Some heartbeats
Hole in the gaps
In the long wall,
Fly through them
And
Hang their agony
Upon the chests.

These hanging sorrows
Draw
A question mark
Upon
The trophies
Of the victorious soldiers

(2)

The poet asks whether seasons and climates have turned political and clever . Do they don different religious apparels as they visit different countries ?

( Monsoons in Pakistan )

Daughter twirled the globe
that was
On the table
And asked:

" Papa ,
Have you been to Pakistan?
Do Monsoons
become
Muslim there?"

I silently
try to forget
History...

(3)
His poem "Blood stained Snow " touches the reader with its content and presentation .I found it deeply moving. quote some lines..

"I have nothing
to fight violence with.
Snow is my strength.
Walking on the snow covered roads
With love in my hands
I knock at the doors
Desperately to break the shameless silence
Of my friends.
I fill my eyes
With the sorrow of
the Vitasta
Of the Chinar
Of the Lake.
And weep for hours
On the blood stained snow"

(4).

" The Potter" is another poem that creates a nostalgia and desire to be in one's Birth place .In this poem, the poet has used "Potter" symbolically. He misses this potter who brought earthen lamps for Deepawali festival.He meets him in his dreams. The poem concludes Beautifully..

" The potter
Is
Going away
From my dreams
to
His native place.
When
Shall I smell
the fragrance
If my soil?
I don't know..."

(5)
The neglect and abandonment of elders in our society has been presented by the poet in a unique way. These unfortunate people , ordained to postpone even visits to their dreams , find sudden utility during electoral process.

( Old Man )

In my world
there are
Such beautiful sights to see
That
I have postponed
My visits .

What else could i do ?
They have taught me
to walk
only
upto the polling Booth .

(6)

Albert Camus felt that the Summer sun treats every person with its benign warmth. A Warmth that is life regenerating . About winters , he was always doubtful . Winters tend to treat people differentially , Quite often , exposing them for something they do not possess .
Santoshi touches this thought in his poem " Poor Children " .

( Poor Children )

Poor Children
Are not afraid
Of sunshine .

They
Are afraid
Of the cold
Which betrays
their faded Sweaters ..

Maharaj Santoshi ( Born 15th June , 1954 ) is a native of village Mattan in Kashmir. He is a postgraduate In English Literature from Punjab University . He writes in Hindi and has Published some books . I quote his books..

(1) ISS BAAR SHAAYAD ( A collection of poems)

(2) BARF PAR NANGAY PAANV ( A colection of Poems )

(3) VITASTA KA TEESRA KINAARA ( A collection of Poems ) 

(4) ATMAA   KI   NIGRAANI MEIN ( A collection of Poems )

(5) HAMAARE  ISHWAR KO TAIRNAA NAHIN AATAA HAI ( Our God Does not Know How to swim Across . A collection of short Stories ) .

The stories in the last book are again moving and presented with refreshingly newer sensibilities .

He lives in Jammu.

Reach him..... mk_santoshi@rediffmail.com...

(Autar Mota )

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