Haveli Sangeet

History

Haveli Sangeet is another name for Hindu temple music practiced by the followers of Vaishnavism of Nathdwara in Rajasthan, Gujarat, India, and considered a part of a rich historical tradition. Having its origin in Rajasthan and Gujarat, the Haveli music is believed to have an edge over dhrupad (the core of Indian classical music) for the common belief that the music has none other than Lord Krishna himself for an audience. Essentially a tribute to Krishna, its form includes devotional renditions like kirtans, bhajans, and bhava nritya, all related to religious worship. Although a mix of classical and folk music, the style is inherently borrowed from the dhrupad and dhamar. Haveli Sangeet is commonly played at the many temples of India, like the Radha Vallabh of Vrindaban, Krishna of Nandgaon, Uttar Pradesh, and Sri Nathji of Nathdwara, to name a few.

Over time, trained practitioners of Haveli Sangeet have decreased in numbers.

In Gujarat, one school of thought holds that Indian classical music has its origins in the Haveli Sangeet of Vallabha Acharya, a pioneer in this genre. Vallabhacharya's and his son Gusaii Shri Vithhalnathji's disciples, who are famous as Astaskha/Astachhap , were the pioneer writers and singers of this genre. Surdasji, Nanddasji, chhitswami, Govindswami, krunsnadas, chaturbhujdas, kumbhandasji, parmananddas. Vishundas was the first part of the astasakha, but after his gau loka gaman, Chaturbhujdas was added to the astasakha. The poets, also referred to as astasakha/astachaap (mahaan sakhao), were beautiful singers and musicians and, more importantly, das or servants of Prabhu Shreenathji - Aarnav. K

The history of Indian classical music has it that the Vaishnavs of Nathdwara were the ones to uphold this sect founded by Vallabh Acharya.

Repertoire

Sectarian tradition associates each darshan with an Ashtachhap poet: Parmananddas (Mangal), Nanddas (Shringar), Govindswami (Gval), Kumbhandas (Raj Bhog), Surdas (Utthapan), Chaturbhujdas (Bhog), Chhitswami (Arati), and Krishnadas (Shayan). However, musicological field analysis shows that singers do not strictly follow this alignment. Temple musicians choose from a broader corpus of over twenty composers, including both Ashtachhap poets and later regional lyricists, adhering to prescribed ragas and seasonal modes rather than fixed authors.