Haveli Sangeet

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Overview:
Haveli Sangeet is a genre of Hindustani classical music traditionally performed within havelis (mansions). Although it prominently features the Dhrupad style, it encompasses other forms as well.

Origin:
This musical form originated in Govardhan, Mathura, situated in the Braj region of northern India. It is closely associated with the Pushti Margiya temples of the Vaishnava tradition, where devotees offer daily musical prayers to Lord Krishna.

Historical Evolution:
Haveli Sangeet gained prominence during the Bhakti movement, a period of religious revival. However, it experienced a decline during the medieval era due to changing socio-political conditions.

Musical Styles:
While Dhrupad remains a key element, Haveli Sangeet also includes other styles like Prabandh, Dhamar, Khyal, Kirtan, and Bhajan.

Languages:
The compositions are typically performed in Brij Bhasha, Sanskrit, Punjabi, and Marwari.

Notable Figures:
Prominent contributors to this tradition include Vallabhacharya, Shri Vitthalnathji (also known as Shri Gusaiji), Surdas, and Pandit Jasraj.

Vallabhacharya and the Rise of Haveli Sangeet

Discovery of Lord Shrinath:
In 1556, Vallabhacharya discovered the divine form of Lord Shrinath (an incarnation of Lord Krishna) in a cave on Giriraj Mountain. During the reign of Aurangzeb, to protect the deity from possible desecration, Vallabhacharya relocated it several times before finally establishing its permanent abode in Nathdwara, Rajasthan.

Establishment of Haveli Sangeet:
The temple of Shrinathji in Nathdwara, referred to as the Haveli of Shrinathji, became the central hub of the Pushtimarg tradition, where Haveli Sangeet evolved as a devotional art form.

Devotional Services and Disciples:
Vallabhacharya entrusted four disciples—Kumbhandas, Surdas, Parmanandas, and Krishnadas—with the responsibility of conducting devotional services. Kumbhandas, the first kirtankar (singer) of Shrinathji, played a pivotal role in shaping the tradition.

Expansion by Shri Vitthalnath (Shri Gusai):
Shri Vitthalnath, Vallabhacharya’s son, further organized and expanded the temple services (sewa), appointing four additional disciples—Govindaswami, Chhitaswami, Chaturbhujdas, and Nanddas. Together, these eight disciples became known as the Ashta Sakhas (Eight Companions) of Lord Shrinath.

Integration of Raga, Bhog, and Shringar:
Shri Gusai enriched the tradition by incorporating raga (melodic frameworks), bhog (offerings), and shringar (adornments) into the daily sewa.

Raag Sewa:
Devotional hymns (padas) are sung in specific ragas and rhythmic cycles (taals) according to the eight prahars (time periods) of the day. The sequence includes:

• Mangala (early morning)
• Shringar (morning adornment)
• Gwaal (mid-morning)
• Rajbhoga (noon offering)
• Uthapan (afternoon)
• Bhoga (evening offering)
• Sandhya (twilight)
• Aarati and Shayan (night prayers and rest).