Most are aware that Shahdara is on the outskirts of Delhi. It’s an administrative and revenue district of Delhi situated near the banks of Yamuna river. Its headquarters is at Nand Nagri. Its primarily a residential area, close to Chandni Chowk and Ghaziabad. It’s one of the oldest inhabited areas of Delhi and integral to what is known as Purani Dilli (old Delhi). Well, some may even jibe, its Jamuna Paar. But how many of us remember the names origin? Shahdara literally means door of kings.
It may have originated from ‘shahi dara or dariya’, since it is near the river (dariya) Yamuna. Our interest this weekend is actually on a song form called Sadra. Some say it originated from the village Shehdera. (Shahdara?). Anyway, it’s a Hindustani Classic music form which is not so popular today. Music lovers are familiar with the Dhrupad and Khayal style of singing but Sadra is not as famous. It may come as a surprise that many Sufi and hindu Spiritual songs are sung in this form.
Shahdara is a distinct vocal genre within the Hindustani classical music tradition, which originated and developed in the Indian subcontinent. Sadra remains an important part of the musical heritage due to its unique rhythmic structure and melodic style. Sadra is primarily a vocal style where compositions are performed in specific rhythmic cycles or talas. Unlike some other genres, Sadra involves a clear and deliberate choice of rhythm, with composers adhering to predetermined talas to maintain the structural integrity of the performance.
The principal talas used in Sadra include:-Teevra Tala (7 beats): A seven-beat rhythmic cycle known for its intricate and striking patterns. Sool Tala (10 beats): A ten-beat cycle that balances complexity with rhythmic steadiness.Chau Tala (12 beats): A twelve-beat cycle widely employed in Hindustani classical music.Jhaptal (10 beats): many also say it’s actually Drupad sung on the ten-beat cycle. Shahdara has a history spanning several centuries and flourished in the royal courts and musical centers of northern India. Typically, Sadra draws upon devotional or religious poetry, encompassing themes of love, nature, and spirituality. Compared to Khayal, Sadra is more rhythmically regulated, with greater emphasis on adhering strictly to the tala. The lyrical content is given precedence, allowing the spiritual depth and poetic nuances to resonate clearly with the audience. The spiritual elements are the basis of most Sadra renditions. Readers, once they hear it, will realize why Sadra form is so popular with Sufi singing or typical Hindu spiritual songs. Currently Navratri is being celebrated all over India. One Sadra which is so topical to goddess Durga is ‘ Dayani Bhavani’, taught to almost all students of Hindustani Classical Music. It’s an ode to the goddess with significant lyrics describing her.
This popular number has been the preferred choice of most listeners. Many singers have sung it. However, the Sadra sung by the legend, Begum Parveen Sultana is an all-time favorite.
Pic from Internet
The lyrics come out crystal clear and the rendition is exceptionally pleasant to the ears. The high scales she ascends are incredible. Her gayaki is indeed difficult to emulate. There is a a wonderful Sadra rendition by Pandit Ajoy Chakrabarty in Raga Megh in Jhaptal. The sedate start ending with a flourish shows the mastery he has over this style. Panditji has also sung a Sadra in Bairab Composition whose bol are Allah O Allah. Just for a moment think, a muslim singing for goddess Durga while a hindu is singing Allah O Allah! It’s possible only in India.
Begum Sahiba is an Assamese Muslim from Nagaon Assam while Panditji is a Bengali music teacher from Kolkata. Indeed, Music has no boundaries but India actually is a living testimony to it. In today’s fractured world, its only India that has such extra ordinary plurality! The need of the hour is that we respect one another and ensure that space exists for all mankind to practice their belief. And as is said in The Gurugranth Saheb, quoting Kabir: Awwal Allah Noor Upaya Qudrat Keh Sub Banday-Aik Noor Keh Sub Jag Upajiya Kaun Bhale Ko Mandhe
… By Sidhartha Mukherjee
