Music of Holi

AS we celebrate thumri legend Shobha Gurtu’s centenary this year, I am reminded of her beautiful rendition in her metallic, crisp, sonorous voice of the much loved Holi song — ‘Aaj Biraj mein Hori re rasiya (Today in Brij, it’s the festival of Holi, my beloved)’. She gave it an eternal presence in the fun and frolic that Holi — the festival of colours celebrated in North India — can be. Even today, you can hear tolis (groups) of people going around their mohallas or local communities, singing with vibrancy and vigour this very song in an unsophisticated manner with their dholaks, only iterating the fact that Holi is really a festival for everyone. The music of Holi is a beautiful tapestry that demonstrates how folk and classical traditions intertwine, how colour and melody merge, and how joyous celebrations can transcend the boundaries of religious beliefs. Whether it is the street performers, Shobha Gurtu, qawwal Jaffar Hussein Badayuni, the music of Holi adds a layer of celebratory richness to this festival.

The connection between colour and music is indeed unique. While colour is a visible, tangible experience, music exists on a different, more intangible level. And yet, there is an undeniable bond between the two, particularly through the ragas that dominate Holi songs. Ragas like Kafi, Pilu, Tilang and Bhairavi set the emotional tone for the celebration, evoking feelings of love, joy, longing, and sensuality. These ragas, largely stemming from folk tunes, have found a special place in the sub-genre of Holi songs called Hori. Yes, there is actually a genre in North Indian semi-classical music named Hori. Sometimes infused with the soulful elements of thumri, Hori songs have been passed down through generations, often becoming part of our cultural fabric through Bollywood. Consequently, the Hori geet lives within the subconscious of many, establishing an intrinsic link between colour and music. Though it’s not common to hear a khayal on the theme, there are some such compositions, including a beautiful bandish by the brilliant Pt Kumar Gandharva in Raga Bhoopali.

The bandish ‘Abeer, gulal le aayi, agar, chandan sugandh suhayi (Holi brings along colours of abeer and gulal,as well as pleasing fragrances of agar and sandalwood)’ is a reminder of the beautiful fragrances that were a part of the celebration, the way it was celebrated with pure chandan, abeer and so on. References to ‘Kesar ki bori’ (sackfuls of saffron) are also seen in some traditional songs. The language of traditional and folk songs also tell of a time where there was more abundance and community sharing.

There is a direct connection between Holi and music, especially when we look at the rich cultural and literary texts that paint the Holi canvas. References to colours like hari chudiyan (green bangles), gori baiyyan (fair arms), kumkum (vermilion), kesar (saffron), gulal (red powder) and various musical instruments like the dhol, shehnai, mridang (ancient two-headed drum) and even the person who makes his living by colours, rangrez (dyer), are woven into the heart of many Holi songs. These lyrical references vividly evoke a happy time where the rich hues of the season with lively sounds fill the air. The music of Holi also relives mythological tales, particularly the playful and affectionate exchanges between Lord Krishna and gopis. In these stories, Krishna drenches the gopis in colour, symbolising love, liberation and festive cheer. The lyrical content often mirrors this joyful, romantic narrative. One such traditional thumri captures the essence of this playful love: ‘Banshi wale se khelungi main Holi, mohe rang mein kari aur jhakjhori (With the flautist I will play this Holi, He who drenches me in indefatigable colour)’.

Or the lovely bandish ki thumri again in Raga Kafi by the legendary vaggeyakar Pandit Ram Ashrey Jha (vidvan who both composed and sang bandishes): ‘Mopey aiso rang ji na daro (Colour me not in such hues)’; or the stunning thumri in Raga Des set to a lilting 10-beat jhap taal: ‘Rang udat hai chahun ore, gulal ke baadal chhaye rahe chahun dis (The colours of Holi fly all over, creating clouds of gulal all around you).’

Even in poignant moments of separation, Holi songs convey a depth of emotional longing. For example, a traditional dadra in the voice of a lonely heroine in viraha (separation) laments her love for Krishna: ‘Hori aaj jarey chahe kaal jarey, mora kunwar Kanhai mose aan mile.’ The pyre that is lit to signify the triumph of good over evil, this song speaks of a heart longing for her beloved, Krishna.

However, Holi is not only about longing or romance. It is, at its core, a time of revelry, mischief, and uninhibited joy. It is a time to throw caution to the wind, to flirt, to celebrate, and to let go. Songs like ‘Aayi hurdangon ki Holi aayi (Here comes the riotous Holi)’ express the jubilant chaos that defines the spirit of the festival. Holi allows for a unique tradition where women playfully mock men through light-hearted abuse (gaari), an opportunity for women to break free from societal norms and embrace a bit of rambunctiousness. Even Mughal emperor Bahadur Shah Zafar, who famously participated in the fun, captured this playful spirit in his Braj boli composition: ‘Kyon moh pe rang ki maari pichkaari, dekho Kunwarji doongi main gaari (Why did you drench me with colour? Now, Krishna, I shall call you names)’.

While festivals like Deepavali hold immense importance, these have not inspired as many musical traditions as Holi has. The dhamar — a sub-genre of the classical dhrupad — is intrinsically linked to Holi. One famous dhamar blends sensuality and spirituality, capturing the essence of Holi with lines like: ‘Khelat Hari sang sakal rang bhari Hori sakhi (Everyone is drenched in colours while playing Holi with Krishna).’ In this beautiful verse, one can feel the colourful exuberance of Holi, mixing both earthly pleasures and divine devotion.

What makes this music so special is the deep emotional connection it fosters with the listener. It bypasses intellectualism, embracing unspoken emotions of love, longing, and joy. Whether it is the devotional pada by Bhakti poet Surdas, ‘Tum chalo sabahi mili jaaye khelan Horiyan (Let’s play Holi together, united in spirit)’ or the impassioned verses of Ras Khan, a Muslim Krishna bhakt, with his ‘Aaj khelen Hori Braj gori (Today, let us play Holi in Braj, O fair maiden)’, the underlying sentiment of devotion and love shines through. Even Gauhar Jan, the diva of the gramophone era, sang on the LP: ‘Mere Hazrat ne Madine me manayi Holi (My Hazrat plays Holi in Medina with me)’.

Amir Khusro, legendary Sufi, and mureed (disciple) of Nizamuddin Auliya, also expressed his devotion through Holi verses dedicated to his spiritual guide, Khwaja Moinuddin Chishti, whom he compared to Krishna: ‘Mohe suha-gan, rang de Khwajaji, Aao, Sufiyon sang Hori khelo (Grant me the colours of your blessings, Khwajaji, let us play Holi together in joy).’

North India bursts into a riot of colours, literally. Even in Punjab, Hola Mohalla celebrated in Anandpur Sahib, apart from several other events, sees a lot of kirtan. Holi is, indeed, a festival that encompasses a wide array of emotions, where joy comes together through music, colour, food; where there is a lot of getting away with ‘Bura na mano Holi hai’. So, this Holi, savour your gujiyas with some incredible traditional and folk music, that extends beyond the usual (albeit fun) ‘Rang barse’ and ‘Balam pichkari’!

— The writer is a Delhi-based musician