Samāja, Havelī Saṅgīta, and Dhrupada

The Musical Manifestation of Bhakti

Abstract

This article explores the deep connection between music and bhakti (devotion) in Vaiṣṇava traditions, particularly in North India's Braj region. Music is presented as the ultimate expression of divine connection and the human quest for union with God.

The study highlights two main forms of Vaiṣṇava temple music:

• Samājagāyana: This is congregational singing, primarily in Vrajabhāṣā, where the poetic text is paramount. It features minimal improvisation and strict adherence to poetic meter, performed with harmonium, cymbals, and drums.
• Havelī Saṅgīta: Originating from the Vallabha Sampradāya, this style is more musically advanced, allowing for solo performances and extensive improvisation (gamaka, tānas). While technically complex and resembling classical music, it still serves to enhance the sacred text's emotional impact.

The article also examines Dhrupada, recognizing it as both a classical genre and a sacred devotional form with roots in Vaiṣṇava tradition. Characterized by its majestic, slow tempo, Dhrupada maintains a superior status in North Indian vocal music. It emphasizes that both classical and devotional Dhrupadas, including "Havelī Dhrupada," prioritize the sacred text, functioning as offerings to God rather than mere entertainment. The piece concludes by showing how devotional poetry, like that of Paramānanda Dāsa, is spontaneously rendered, embodying the essence of bhakti.