How musicians are reinventing the centuries-old abhang

It’s 4 a.m., the sky, a deep indigo, is illuminated by fading stars and the air is crisp with the promise of dawn. The waris gear up to begin their annual 250 km yatra to the abode of Vithoba in Pandharpur. The men dressed in white dhoti or pyjama, kurta and the familiar Gandhi topi and women in vibrant nauvari (nine-yard sari worn in Maharashtrian style) gather with saffron patakas (triangular flag) fluttering in the early morning breeze. Some carry instruments such as the chipli (wooden clappers), mridanga (drum), tuturi (curved brass horn) and ektari (stringed instrument). All through the journey they sing abhangs in unison till the yatra culminates on Ashadi Ekadashi.

The Dnyaneshwar Maharaj palki passing through the Dive ghat near Pune.
| Photo Credit:
Emmanual Yogini

The word ‘abhang’, meaning ‘unbroken’, are verses in praise of Vittala. Written in Marathi by saint-poets such as Dnyaneshwar, Namdev, Eknath and Tukaram, they were intended to make spiritual teachings accessible to the common man who could not understand Sanskrit. Over the years, abhangs have trascended from pilgrimage routes and temple courtyards to the concert stage. Renowned classical musicians such as Kishori Amonkar and Pt. Bhimsen Joshi have played a significant role in popularising them among wider audiences.

Mahesh Kale uses multimedia presentation in his performance to enhance the appeal of his abhang presentations
| Photo Credit:
The Hindu

Says Hindustani vocalist and playback singer Mahesh Kale, “Today, it’s heartening to see so many young faces at the abhang concerts I perform across the country at this time of the year. It shows how the expression of faith in these emotive verses is connecting with people. Language is no barrier. The audience response has been overwhelming and reassuring. It inspires me to constantly enhance the presentation of my Abhangwari concert series. For instance, I use multi-media projections and narration to make it more interactive. We also recreate a Vittala procession at the end of each concert to give audiences a real-time feel of the warkari sampradaya.”

With musicians becoming more experimental with formats, abhang too is getting a contemporary twist. Mumbai-based Abhanga Repost, a six-member folk fusion band, blends the devotional poetry with new-age sounds. The members, who have grown up listening to abhang, did some research to understand the deeper meaning of these songs before performing them. “They make you think,” says bass guitarist Swapnil Tarphe. “The response has been phenomenal. After one of our jamming sessions posted on Facebook garnered massive views, we were flooded calls.” From international tours to performing at major music festivals in the country, the band, which is all set to release its third album, admits music has no boundaries.

Aruna Sairam popularised abhangs by singing them in her Carnatic concerts.
| Photo Credit:
The Hindu

Chennai-based Carnatic vocalist Aruna Sairam is among the first to introduce abhang in kutcheris. “Having grown up in Mumbai, I was introduced to it at a young age. I have seen warkaris rendering them during their annual yatra. My mother also used to organise abhang sessions at home. The music and devotion left a deep impact on me. Much later, when I began performing kutcheris, I felt why not include abhang in the tukkada section. The audiences’ amazing response pushed me to even do exclusive abhang concerts.”

Realising the enduring appeal of abhang, Shashi Vyas, founder of Pancham Nishad, launched the annual multi-city concert series Bolava Vitthala 15 years ago. Interestingly, it was he who suggested this title to Kishori Amonkar for her abhang concerts. “Today, more than 100 abhang concerts are held in Mumbai and other cities on Ashadi Ekadashi. Over the years. a dedicated following had led to abhang becoming a staple of classical music concerts. Composed centuries ago, these devotional verses continue to resonate across generations,” he says.