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Innocence and fame: Langas
If you thought `Nimbuda...nimbuda` was a great `original` composition then listen to this. It is actually composed by the Langa tribesmen of Rajasthan, a tribe that prides on its singing tradition. Pallavi Thakur speaks to Keshav Kothari, the officially appointed manager of this internationally famed community of folk musicians, who are still untouched by the ways of the modern world around. A rare combination of fame and innocence goes with this community of hereditary singers.
If you thought ‘Nimbuda...nimbuda’ was a great ‘original’ composition then listen to this. It is actually composed by the Langa tribesmen of Rajasthan, a tribe that prides on its singing tradition. Pallavi Thakur speaks to Keshav Kothari, the officially appointed manager of this internationally famed community of folk musicians, who are still untouched by the ways of the modern world around. A rare combination of fame and innocence goes with this community of hereditary singers.
How would you trace down their origin?
It is a very old art and even the villagers cannot really trace it down. But then it is a cast specific culture. Which consists of two communities, the Langas and the Mangniars, from the desert regions of Rajasthan, Balmer and Jaisalmer. They have been singing together for ages now. The local rapture has been their theme of music. The local celebrations like birth, marriages, local life cycle ceremonies of the people, right from the times of the Thakurs (the Rajput rulers), have been the inspiring tones. Other than music they practice agriculture, as they are not professional but traditional singers.
How has the popular Indian cinema greeted their art, and how open are they to contribute there?
Lot of their music has been incorporated in the Hindi movies. In fact their greatest grievance with the industry has been that they have at many occasions picked up their age old compositions without their consent. They have our case registered with the World Intellectual Property Organisation (WIPO), since it is ethically wrong to not acknowledge and commercialize it. The famous ‘nimbuda – nimbuda’ track in ‘Hum Dil De Chuke Sanam’ that has become so popular now a days was picked up without even consulting them.
How satisfied are they with the Government support?
Government support…is not the ideal kind of sponsorship or support since they get involved with tourism, hence fails to aid them in a manner that would benefit their music. Representing the Indian culture is good but then the music needs to be appreciated from the sheer art point of value. However they are quite happy with the large audience they have at home and abroad. They are one of the most travelled Indian artists, and they have immense private support, which is more important.
How interested do you think their prosterity would be, in light of all the commercialisation today?
(He narrates the question to the Langa’s head in Rajasthani and then translates their reply to me). Well the new generation does seem to cultivate the same interest, though they are a bit threatened by the new commercialisation making in roads to their tradition. Since they are not commercially wise therefore do not even know the ways of marketing one self.
How do they equip there young ones with this art?
Well, they all sit together and sing and that is how they pick it up. There is no training as such. In fact, the compositions are also such that have been sung by generations and continue to be sung in the same form till date. Therefore it is a part of their life, so there is no problem for the next generation in picking it up. How similar or different are the folk and classical music?
Well, classical music is a codified ‘shastra’ which we follow, else music is just music, be it any genre. But that does not mean that folk music does not have grammar. They also use the word ‘Raag’ but not in the way it is done in classical mode.
It is a very old art and even the villagers cannot really trace it down. But then it is a cast specific culture. Which consists of two communities, the Langas and the Mangniars, from the desert regions of Rajasthan, Balmer and Jaisalmer. They have been singing together for ages now. The local rapture has been their theme of music. The local celebrations like birth, marriages, local life cycle ceremonies of the people, right from the times of the Thakurs (the Rajput rulers), have been the inspiring tones. Other than music they practice agriculture, as they are not professional but traditional singers.
How has the popular Indian cinema greeted their art, and how open are they to contribute there?
Lot of their music has been incorporated in the Hindi movies. In fact their greatest grievance with the industry has been that they have at many occasions picked up their age old compositions without their consent. They have our case registered with the World Intellectual Property Organisation (WIPO), since it is ethically wrong to not acknowledge and commercialize it. The famous ‘nimbuda – nimbuda’ track in ‘Hum Dil De Chuke Sanam’ that has become so popular now a days was picked up without even consulting them.
How satisfied are they with the Government support?
Government support…is not the ideal kind of sponsorship or support since they get involved with tourism, hence fails to aid them in a manner that would benefit their music. Representing the Indian culture is good but then the music needs to be appreciated from the sheer art point of value. However they are quite happy with the large audience they have at home and abroad. They are one of the most travelled Indian artists, and they have immense private support, which is more important.
How interested do you think their prosterity would be, in light of all the commercialisation today?
(He narrates the question to the Langa’s head in Rajasthani and then translates their reply to me). Well the new generation does seem to cultivate the same interest, though they are a bit threatened by the new commercialisation making in roads to their tradition. Since they are not commercially wise therefore do not even know the ways of marketing one self.
How do they equip there young ones with this art?
Well, they all sit together and sing and that is how they pick it up. There is no training as such. In fact, the compositions are also such that have been sung by generations and continue to be sung in the same form till date. Therefore it is a part of their life, so there is no problem for the next generation in picking it up. How similar or different are the folk and classical music?
Well, classical music is a codified ‘shastra’ which we follow, else music is just music, be it any genre. But that does not mean that folk music does not have grammar. They also use the word ‘Raag’ but not in the way it is done in classical mode.
Are they open to the idea of fusion music?
Well it is a possibility but provided someone does it with a sense of respect to their authenticity.
Do women of their community participate in music?
No, they don’t. They sing at home but are forbidden to perform publicly. That is due to their traditional customs. However there are two sisters who have taken up singing but then they cannot sing together with the men.
Since they travel so much haven’t they ever been allured by the city life, and ever thought of moving out of the tradition village home?
No, never. Till date nothing of this sort has ever happened. Probably they have understood that it is worth doing what they are doing, their sense of economics.
Are they happy with their course of life?
(he asks them in Rajasthani) ‘haan bhai khush ho?’ (are you all happy?) Together all of them say ‘haan’ (yes)!