Bhopal
The Tansen Samaroh, celebrated in Gwalior to pay homage and tribute to Tansen, the great art sage of the age-old tradition of Indian classical music, has completed 100 years. The biggest feature of this ceremony is the equality of all religions and the intact traditions associated with it.
The Ganga-Jamuni culture embedded in Indian culture can be seen live in the Tansen Festival. When renowned music practitioners of the country belonging to the Muslim community present the worship of Lord Krishna, Ram and Lord Shiva, the god of dance, in ragas and raginis in this ceremony, the river of communal harmony flows.
Tansen ceremony starts with Shehnai playing. After this, Dholi Bua Maharaj’s Harikatha and then singing of Milad Sharif. The tomb of Sur Samrat Tansen and the famous Sufi saint Mohammad Ghaus is also covered with a sheet. Dholi Bua Maharaj says through his musical story that no matter what the path of religion is, everyone reaches God. The mantra of Upanishad is also “Ekam Sad Viprah Bahudha Vadanti”. This festival, which started as “Urs Tansen” in Gwalior in February 1924 during the princely state, started with Harikatha and Maulud (Milad Sharif). From then till now the Tansen festival has been starting with the same tradition. There are few examples of such a long tradition. New dimensions were added to the Tansen celebrations, but the old traditions remained intact. Now this festival has taken the form of World Sangeet Samagam. Also, on the eve of the festival, the classical music program “Gamak” is also organised. This year, before the centenary celebrations, musical gatherings were organized in Madhya Pradesh as well as in other states of the country.
The best and most respected music practitioners belonging to every caste, religion and sect have presented their performances in this event at one time or the other. From classical singer Ms. Asgari Begum, Pt. Bhimsen Joshi and Dagar brothers to the famous Shehnai Nawaz Ustad Bismillah Khan, sarod player Amjad Ali Khan, santoor player Pt. Shivkumar Sharma, Mohanveena player Pt. Vishwamohan Bhatt, eminent music artists like Gaan Maharishi sang in this function. Have come to pay homage to Tansen. Bharat Ratna Pandit Ravi Shankar, who came to attend the Tansen Festival in 1989, had said, ‘There is a magic here, in which one feels a pleasant thrill while performing’. Once the famous Pakhawaj player Pagaldas also came to pay tribute on the occasion of Tansen’s Urs, but could not participate in the ceremony as he was not a graded artist of radio. Sitting at Tansen’s tomb, he played Pakhawaj in such a wonderful manner that the music connoisseurs got up from the main function and went and sat in front of him.
The specialty of “Tansen Sangeet Samaroh” has also been that despite being organized under the patronage of the democratic government earlier and after independence, colors of politics were never seen in this festival. This festival has always been a testimony to the diverse colors of Indian music. In the modern era, the Guru-Shishya tradition has almost disappeared from the educational scenario. This great tradition embedded in the Indian ethos can be clearly seen even today in the field of musical art. Even in the Tansen ceremony, this unique tradition of India is seen live.
There is a famous saying about Gwalior, the city of music emperor Tansen, that here children cry, then in tune and stones roll, then in rhythm. This city has given many musical talents to the music world from ancient times till today and Sangeet Surya Tansen is the foremost among them.
Born about 505 years ago to Makrand Pandey in the soil of Behat village of Gwalior district, ‘”Tanna Misar” alias Tansukh was blessed to receive a diamond-like refinement under the loving discipline of his Guru Swami Haridas. Even the then kings and emperors were amazed by the aura of Tansen and used to request him to enhance the beauty of their court. Even Emperor Akbar could not remain stunned by the talent of Maharishi Tansen. The king was also curious that if Tansen was so great then how would his guru Swami Haridas be. This curiosity had drawn Emperor Akbar in disguise to the alleys of Brindavan. In scientific research, the effect of music on animals, birds, plants, crops etc. has also been proved. There is no exaggeration in this couplet written by Abdul Rahim Khankhana, a contemporary of Tansen and one of Akbar’s nine gems, that “Vidhina yeh jiya jaani ke sheshhi diye na kaan. Everything on earth is shaking, listen to Tansen’s tune. Some historians believe that this classic couplet was composed by Surdas in honor of his friend Tansen. However, no matter who composed this couplet, there is no doubt that this couplet reflects the high quality singing of Manishi Tansen.
Initially, when Tansen was learning the instrument of music, Gwalior was ruled by the art-loving king Mansingh Tomar. Tansen’s musical education also took place in this environment. Due to the death of Raja Mansingh Tomar and Vikramjit snatching away the kingdom of Gwalior, the group of musicians here started disintegrating. Then Tansen also went to Vrindavan and there he received higher education in music from Swami Haridas ji and Govind Swami. After becoming proficient in music education, he stayed under the shelter of Daulat Khan, son of Sher Shah Suri. After this, he was given a respectable place in the royal assembly of King Ramchandra of Bandhavgarh (Rewa). Mughal Emperor Akbar, hearing the praise of Tansen’s singing, called him to his court and gave him a place among his Navratnas.
Tansen was the first musical master, who used both the forms of Komal Gandhar and Nishad very well in Raga Malhar. Tansen also has the credit for the invention of Mian Ki Todi. Tansen was unique in vocal music. Abul Fazal has written about Tansen in “Ain-e-Akbari” that “There has been no other singer like him in India in the last thousand years.” While he invented ragas like “Mian Ki Todi”, he also sang old ragas. By changing it, it gave birth to many new melodious Raginis. Tansen also has the credit for composing the best texts on music named “Sangeet Saar” and “Raag Mala”.
According to some scholars, this great musical master ended his life in Lahore in the latter half of the 15th century during Akbar’s visit to Kashmir. Some scholars are of the opinion that he died in Agra in the 16th century. As per Tansen’s wish, his body was brought to Gwalior and Sangeet Maharishi was laid to rest near the tomb of the famous Sufi saint Mohammad Ghaus.
In the memory of this great musician, every year since 1924, Kumbh of eminent musicians is organized in Gwalior, where the top artists of the country showcase their art and pay tribute to the music emperor Tansen. To perpetuate the memory of musical master Tansen, the National Tansen Award was established by the Madhya Pradesh government in 1980. Till the year 1985, the amount of this honor was five thousand rupees. In the year 1986, it was increased to fifty thousand rupees and later, one lakh rupees, then two lakh rupees and a commendation plaque were presented as awards. Now the prize money has been increased to Rs 5 lakh by the state government.
