BOOK REVIEW : HENZEY VANVUN

                                                                               

Book Review

HENZEY VANVUN

Compiler: Kanwal Peshin
Editor: Smt. Janak Rani Peshin

(Sponsored by KOA, USA )
Publisher: BFC Publications Pvt. Ltd., Lucknow
Edition: Trilingual (Hindi, Roman Transliteration and Nastaliq Kashmiri in one Volume)

ebook at: https://books.google.co.in/books?id=UGfzEQAAQBAJ&newbks=0&hl=en&source=newbks_fb&redir_esc=y

 

The preservation of oral traditions is among the noblest responsibilities of cultural scholarship in the twenty-first century. Unlike written literature, oral traditions survive not in manuscripts but in living memory, transmitted across generations through voice, performance and ritual participation. Their very vitality renders them vulnerable. Once the chain of transmission is broken, entire worlds of language, music, symbolism, ritual practice and collective memory risk disappearing forever. It is against this larger civilisational backdrop that Henzey Vanvun, compiled by Kanwal Peshin and edited by Smt. Janak Rani Peshin, assumes extraordinary importance. More than a compilation of ceremonial songs, this beautifully produced bilingual volume is a monumental act of cultural preservation, rescuing one of the oldest surviving ritual traditions of the Kashmiri Pandit community from the uncertainties of oral transmission and securing it for posterity.

Vanvun occupies a unique position in the cultural history of Kashmir. It is one of the oldest living ritual song traditions of the Valley, preserving echoes of an ancient liturgical heritage that many scholars discern as bearing remarkable affinities with the melodic recitation of the Sāma Veda. While the tradition has naturally evolved through centuries of historical and social change, its sacred cadence, communal performance and ceremonial function continue to reflect a civilisation deeply rooted in Vedic culture. The remarkable continuity of Vanvun is itself evidence of Kashmir's enduring spiritual and cultural resilience.

Kashmiri  Vanvun is not just a poetic form; it is ritualised memory. Traditionally sung by women during rites of passage in Kashmir, such as birth, marriage, and seasonal change. It works as a living archive, carrying history, myth, and collective emotion through rhythm and repetition. This makes it a powerful bridge between cosmic myth and human experience. In the Sāma Veda, especially in expansive chants such as Bṛhat-Sāma, sound is not composed for pleasure or artistic display. It is elongated, vowel-dominant, ritualised, and effective. The chant functions to align the human, cosmic, and divine orders through Nāda. Meaning is secondary to resonance; grammar dissolves into vibration. Time is ritual time, not chronological time. A strikingly similar sound logic governs Kashmiri Vāṇvun. Though situated in domestic and communal life rather than in yajña ritual, Vāṇvun is likewise non-entertainment sound. It is obligatory, performative, and efficacious. Sound does not describe auspiciousness; it produces it. Like Sāma chanting, Vāṇvun prioritises vowel elongation, cyclical unfolding, collective voicing, and suspension of ordinary temporal awareness.

Kanwal Peshin deserves the highest commendation for recognising that Vanvun has always been fundamentally an oral tradition. For centuries these sacred songs were preserved not by institutions or manuscripts but by memory itself, particularly through the devoted voices of Kashmiri women who sang them during weddings, Mekhla (Yajnopavita) ceremonies, festivals and other domestic rituals. In every generation, mothers became the principal custodians of this precious inheritance, transmitting melody, rhythm and meaning to their children with extraordinary fidelity. Long before folklore became an academic discipline, these women functioned as living archives of Kashmiri civilisation. Their contribution to preserving cultural memory deserves far greater recognition than it has generally received.

The publication of this volume is especially significant in the aftermath of the displacement of the Kashmiri Pandit community, which inevitably disrupted the natural transmission of ritual knowledge. Oral traditions survive only within living communities. Once communities become fragmented, memory itself begins to fade. By transforming a living oral tradition into a carefully documented text, Kanwal Peshin has ensured that future generations will inherit not scattered recollections but an authentic and coherent corpus of ceremonial literature. His work is, therefore, an enduring gift to posterity.

The scholarly character of the volume is evident from the opening pages. Rather than presenting the songs in isolation, the compiler provides thoughtful introductory essays explaining their historical, religious and cultural context. These essays demonstrate that Vanvun is far more than a body of folk songs; it is an integral expression of the spiritual, social and domestic life of the Kashmiri Pandit community. Religion, aesthetics, family life and everyday existence have historically formed an inseparable whole in Kashmiri civilisation, and this volume successfully restores the songs to that wider cultural framework.

One of the greatest strengths of the work lies in its editorial discipline. Oral literature invariably presents formidable challenges because no two performances are identical. Variations arise naturally across families, regions and generations. Kanwal Peshin has approached this task with exemplary scholarly restraint, preserving the authenticity of the songs while arranging them in a systematic and accessible manner. The trilingual presentation is particularly commendable. By providing the original text in Hindi, Roman transliteration and a text in  Nastaliq Kashmiri within the same volume, the compiler has made this priceless heritage accessible to the entire  Kashmiri diaspora. It is now accessible to the readers from the younger generation as well  who are unfamiliar with the Nastaliq script, as also to the community of  scholars across the world. This thoughtful editorial decision considerably broadens the readership without compromising authenticity. The editorial contribution of Smt. Janak Rani Peshin also deserves special appreciation. Her careful editing lends coherence and refinement to the compilation while preserving the natural rhythm and sanctity of the oral tradition. The volume thus reflects a harmonious collaboration between compiler and editor in the service of preserving an endangered cultural legacy.

Particularly touching is the compiler's acknowledgement of his mother, from whom he first learnt these Vanvun. This acknowledgement symbolises the indispensable role played by Kashmiri mothers in preserving ritual knowledge across centuries. Through their voices, generations inherited not merely songs but an entire philosophy of family, devotion and sacred duty.

The compiler convincingly demonstrates that Vanvun constitutes a complete ceremonial repertoire rather than a miscellaneous collection of songs. The opening invocation immediately establishes an atmosphere of sacred auspiciousness:

Zyun chatnas zangi kus oyo,
Mangala Devi te Nandkishwar.

(In whose auspicious presence were the logs cut

 for the festivities?

Surely in the presence of Goddess Mangala and Lord Nandkishwar.)

These simple yet profound lines reveal that every auspicious undertaking in Kashmiri life begins with divine invocation. Likewise, the Vanvun accompanying the Mekhla ceremony beautifully express the sacred purpose of education:

Shoklam karith hyot vanvuni,
Shob phal dyutui Maji Bhawanie.

(May this sacred chant bear auspicious fruit

 through the blessings of Mother Bhawani.)

Knowledge here is understood not merely as intellectual achievement but as a sacred trust nurtured through divine grace. Equally evocative are the songs associated with ‘Krool Khaarun’ or decorating the main entrance colourfully, ‘Dapun’ (starting  invitation to close relations), ‘Muss-Mutchrun’ or hairdressing of the bride, ‘Maeznraat’ or Mehndiraat, ‘Shraan’ (bath with milk and curd), ‘Devgun’ (invitation to  Vedic gods), ‘Varidan’ (gifts to the relatives), ‘Dastaar Gandun’ or covering bridegrooms head with a decorated  Pagri, ‘Yonya  Traavun’ (sacred thread wearing), ‘Taranga Gandun’ or covering the bride’s head with a decorated headgear, ‘Lagan’, ‘Posha Pooza’ or showering flower petals over the bride and bridegroom, ‘Veegis –Natchun’ or dancing by women over the marriage Rangoli and  ‘Maharaaza Nernas’ or departure of the bridegroom. Kashmiri Pandits would also sing Vanvun songs for  ‘Navis Palvas Ang Deuun’ or putting on new clothes, ‘Navis  Gharas  Atchun’ or entering a newly built house, ‘Vidhya Aarambh’ or the start of education by the child, ‘Shraan ta Sondhar’ (postpartum bath of the woman with herbs) ‘Zara Kaasaai’ (first haircut of the baby),  and many more  rituals. These verses transform ordinary domestic labour into communal celebration. Work becomes music; music becomes devotion; and devotion becomes collective memory.

 

 

An outstanding feature of the book is its rich collection of photographs. These illustrations are far more than decorative additions. They visually correlate the Vanvun with almost every important ritual associated with Kashmiri Pandit weddings and the Mekhla ceremony, enabling readers to understand precisely where and how these songs are performed. The photographs considerably enhance the ethnographic value of the work, transforming it into a visual as well as textual archive of Kashmiri ritual culture.

From the perspectives of anthropology, folklore, linguistics and religious studies, this compilation is invaluable. Political histories generally narrate the deeds of kings and states, whereas oral traditions preserve the emotional history of ordinary people. These Vanvun illuminate family relationships, ritual practices, gender roles, social values and religious beliefs with remarkable intimacy. They also preserve archaic vocabulary, idiomatic expressions and linguistic forms that might otherwise disappear from the Kashmiri language. The volume will undoubtedly become an indispensable reference for historians, folklorists, anthropologists, ethnomusicologists and students of Kashmir Studies.

In conclusion, Henzey Vanvun stands among the most significant recent contributions to the preservation of Kashmir's intangible cultural heritage. It is simultaneously a work of folklore, ethnography, linguistics, cultural history and religious scholarship. By rescuing these sacred songs from the uncertainties of memory, Kanwal Peshin has rendered an enduring service not only to the Kashmiri Pandit community but also to the cultural history of India. His achievement transcends that of a compiler; he emerges as a custodian of memory, a guardian of tradition and a cultural archivist of the highest order. Beautifully produced by BFC Publications Pvt. Ltd., Lucknow, this trilingual edition deserves a place in every library devoted to Indian culture, folklore, ethnography and Kashmir Studies.

 

( Avtar Mota )

 

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.

CONVERGENCE OF GRIEF : UNIVERSALITY OF HUMAN EMOTION IN COMMEMORATIVE PRACTICE

The Convergence of Grief: Universality of Human Emotion in Commemorative Practice

We visited the beach on Sunday, just yesterday. My son drove us from Jersey City, and in about 100 minutes we reached Funtime Beach in New Jersey. The stretch of sun, sand and water along the Atlantic felt both lively and restorative. It was crowded, yet somehow vast and orderly. The beach offers everything one needs : washrooms, chairs, sun shades, restaurants. Above the sea, motorboats pulled banners, and glided aircraft wrote messages across the sky. It was a scene of leisure, movement, and noise.

And yet, what stayed with me were the quiet benches. Lined along the tiled path to the shore, each one carried an inscription of remembrance. Names, dates, a few words of love. In the middle of all the activity, these small memorials asked us to pause.

That sight made me think of how, across the world, people deal with loss in such different ways, and yet with the same heart.

In India, we often remember through service. A water purifier, a cooler, ceiling fans, marble tiles in a temple, or trees planted in someone’s name. Grief is turned into something useful, so the person who is gone continues to give.

In the West, remembrance tends to be more contemplative. The benches at Funtime Beach are not for utility. They are places to sit, to remember, to let a name be spoken by strangers walking by. 

Different forms, but the same longing: to keep someone present, to say that love does not end with death. Cultural expression may change with place, but human feeling remains the same.

( Avtar Mota )

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.

SHAIViSM AND BUDDHISM UNDER ONE ROOF: GOA GAJAH ,BALI , INDONESIA

                                            

( Avtar Mota outside Goa Gajah, Bali, Indonesia)

                                     

Shaivism and Buddhism Under One Roof: Goa Gajah, Bali, Indonesia 

Goa Gajah, or the "Elephant Cave" near Ubud, stands as one of Bali’s most profound examples of religious syncretism, where Shaivism and Buddhism coexisted under one sacred roof as early as the 9th to 11th centuries. Carved into volcanic rock, the site’s centrepiece is a dark meditation cave housing three Shiva Lingams draped in black, white, and red cloth; a living shrine to Shiva that is still actively worshipped by Balinese Hindus today. Yet, just beyond the cave, the complex reveals unmistakable Buddhist elements: stone Stupas, statues of Hindu-Buddhist deities, and ritual bathing pools adorned with carved nymphs. This architectural and spiritual duality reflects a period in Balinese history when Shaiva and Buddhist priests, scholars, and hermits shared space, rituals, and sacred geography without conflict. Rather than erasing one another, the two traditions merged to form the foundation of what would become Agama Hindu Dharma in Bali. This uniquely Balinese faith honours both Vedic deities and Buddhist principles of meditation and purification. 

In Goa Gajah, stone, water, and ritual become a testament to tolerance. The cave’s Shiva Lingams represent inner asceticism and divine power, while the surrounding Buddhist structures speak to mindfulness and liberation. Together, they remind us that in Bali, spirituality was never about division, but about harmony two great paths meeting, quite literally, under one roof.

( Avtar Mota )

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.

Based on a work at http:\\autarmota.blogspot.com\.

A CALENDAR OF MEMORY, BELONGING AND CONTINUITY

                                     

A Calendar of Memory, Belonging and Continuity ( Released by KOA, USA)

Saw this calendar yesterday. This 2026-27 calendar released by KOA, USA is far more than a marker of time. It is an act of cultural preservation, a quiet resistance against erasure, and a deeply emotional bridge between a displaced community and its homeland. In the meticulous compilation of festivals, tithis, and observances from Chaitra to Phalguna, KOA has ensured that distance of thousands of kilometres does not translate into distance from Dharma. 

Special praise is due to the KOA team and to Uphaar Kotru, the present President, whose leadership has elevated a simple calendar into a work of community art. By carefully computing Panchaks, the Asta of stars, and the truncated treyah tithi dates according to US Time Zones, they have ensured that ritual life remains precise, authentic, and lived; not merely remembered from afar. This attention to detail means that prayers fall on the right day, festivals are observed with fidelity, and traditions continue without dilution, even thousands of miles from home. In this, scholarship becomes seva, and a calendar becomes continuity.

What makes this calendar singular is its heart: the inclusion of children. Each month is paired with a painting done by children from Kashmiri Pandit  families  living in the US. I could read their names as Zivak Kaul, Saanvi Kaul, Bella Kaul Dharmraj, Eva Kaul Sablok, Kavisha Kaul, Saahil Sumbly, Yuvaan Kaul, Advika Raina, Aarya Bazaz, Aadee Wattal, Aanav Sadhoo, Sharanya Kotru, Evania Dhar, Kavi Wali Patel, and Niharika Dhar. Through their brushstrokes, images of the Dal, the Chinar, the shrines, the hills, the Shikaras,  Shiva, Samavar, and the Sharda script alphabet reappear for all to see. These images are not imagined in isolation. They are the product of parents who narrate stories at bedtime, who name festivals, who keep language and food and memory alive in kitchens. To the parents: you are the first archivists. By inviting children to become co-creators, KOA has achieved something rare. It has moved culture from nostalgia to participation. A child who paints Kashmir learns to love it. A community that sees its children paint it learns to believe in its future. These quiet acts of Nishkaam are what keep a people from becoming footnotes in history. Like Arjuna, they have stepped into the field of action without desire for fruit, guided only by duty and faith that  Sri Krishna on the chariot is moving toward them to put an end to their Kurukshetra. By teaching children to paint what they have only heard in stories, and by serving tradition with such steadfastness, the KOA team, its President, the parents, and the young artists are not merely remembering a homeland; they are ensuring it continues to live. In calendars, in classrooms, in kitchens far from the valley, culture finds its continuity. And that, perhaps, is the greatest form of return.

This calendar, therefore, is not just paper. It is inheritance. It is proof that even in alien lands, tradition can be tended, time can be sanctified, and a homeland can be kept alive; one month, one painting, one story at a time. Kudos. Best wishes. Keep going. 

 

(Avtar Mota)

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CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.

Based on a work at http:\\autarmota.blogspot.com\.