Gharana in South Asia

Custodians of Cultural Heritage

Mar 11, 2009

The musicologist D.K. Mukherjee writes that gharana is a Hindi word meaning `family' in the broad sense of the word.

The musicologist D.K. Mukherjee writes that gharana is a Hindi word meaning `family' in the broad sense of the word, but when used with reference to a musical tradition it takes on other connotations (Mukherjee 1979:ka). Expanding on this idea he gives four criteria to be used in the recognition of a music tradition as a gharana:

Radhika Mohan Maitra

Radhika Mohan Maitra (sarodist, musicologist) told the author that in order for a gharana to come into existence, the same style of music must be maintained by a family of musicians for three generations: grandfather to father to ego. If this is done then the gharana would begin from the time of ego.

Daniel Neuman

The anthropologist Daniel Neuman writes that the literal meaning of the word gharana is `of the house' adding that a gharana is a "`Family tradition', a stylistic school" (Neuman 1980:272). He concludes that the concept of a gharana includes "minimally, a lineage of hereditary musicians, their disciples, and the particular musical style they represent. It is thus a compound of social feature (the membership) and cultural one (musical style)" (Newman:146).

Colloquial and Technical Usage

The criteria outlined by Roy Choudhury, Mukherjee, Maitra and Neuman represent the factors which differentiate the colloquial and the technical usage of the word gharana. It is important not to confuse the two. For example Neuman writes that a large endogamous group of Mirasis, when referred to as a whole, is called a gharana (Newman:126-7).

Does gharana here mean simply a family, or does it refer to a hereditary musical family maintaining stylistic homogeneity over three or more generations? Both meanings may well apply, but in the absence of a detailed description of the group vis à vis the aforesaid criteria, only the colloquial usage is acceptable here.

Musical Family or Gharana

Since any family in which music is performed is a priori a gharana in the colloquial application of the word (i.e. is a family), what is it that separates such musical families from a gharana in the technical sense?

In certain instances, there exist only superficial differences between a musical family and a gharana. In the introduction to his work on gharana, D.K. Mukherjee disclosed that he had dealt with some traditions which (in his estimation) did not meet all the criteria. He suggested that vested interests (musicians, students, and patrons) referred to these traditions as gharanas due to the dignity and prestige associated with the term.

The Role of Patronage

Historically, musical families became gharanas as a result of patronage. Continuity, and homogeneity of musical style are the fruit of extended patronage. Those traditions which lacked this type of support sooner or later fell into obscurity. Princes and zamindars, whether they supported music as a status symbol, or out of a genuine appreciation, made a positive contribution to the growth and preservation of classical music. As R.M. Maitra put it:

"[gharanas] are the real custodians of the cultural heritage of Indian music. In this role, they have not only preserved our traditional music in its pristine beauty and glory, but have also enriched it with superb artistry..." (Maitra 1977:23).

Gharanas are usually named after their geographic place of origin, i.e. Jaipur Gharana, Rampur Gharana, but if no particular centre can be identified, then it takes on the name of the founder, for eg., Imdad Khani Gharana, Gulam Ali Khan Gharana. In the former instance, the traditions enjoyed several generations of patronage in one specific court or district, whereas in the later, the musicians moved from court to court or district to district seeking patronage.

The Khandan

A gharana usually comprises a line of hereditary musicans who are referred to as the khandan, but may also include non- hereditary disciples. In Bengali khandan means "a high or aristocratic family" (Samsad 1979:333). Neuman defines khandan as "Lineage; lineal descent group; extended family" (Neuman 1980:273).

Since the khandan form the back bone of the gharana they are also referred to as the gharanadars. In a specific sense the word gharana applies exclusively to the hereditary core of khandani gharanadars, but generally speaking, it also includes the non-hereditary disciples. These two groups form a guild-like unit which works to promote to mutual interests of the members (Van der Meer 1980:129).

The core family membership of a gharana are the custodian of musical heritage. Membership in this often extends to music students. This family-social unit acts to ensure the continuiity and growth of classical music in South Asia.

Neuman, D 1980 The Life of Music in North India. Detroit: Wayne State University Press

Maitra R.M. 1977 Musing on the Muse. Foundation Day Souvenir. Calcutta: Ramakrishna Mission Institute of Culture.

Mukherjee, D.K. 1979 Bharatiya Sangite Gharanar Itihas (Bengali). Calcutta: A. Mukherjee and Co.

Van der Meer, W. 1980 Hindustani Music in the Twentieth Century, The Hague, Boston and London: Martinus Nithoff Publishers

The copyright of the article Gharana in South Asia in World Music is owned by James Hamilton. Permission to republish Gharana in South Asia in print or online must be granted by the author in writing.