Rasiya of Holi: Temple music from Krishna’s land

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A few days ago, during our phone conversation, my cousin in Amdavad, India, had said he was busy as the ‘Rasiyas’ had started at the Brajdham Haveli in the Satellite area of the city. It took much reading of countless articles and dissertations and books, to make what Rasiya is clear.

Rasiya is part of the Haveli Sangeet which was created and made popular by Pushtimargi Vaishnav religious leader Vallabhacharya. It is believed to be the precursor of Hindustani Classical Music, sung in Havelis and consisting mainly of songs of Krishna and Radha. These devotional songs originated in Goverdhan, Mathura in Braj, are sung in Brij Bhasha and  Sanskrit and include Hindustani Classical music’s Prabandh, Dhrupad, Dhamar, Khyal, Kirtana and Bhajan.

In his book An Intermediate Song Genre of North India, author  Peter Manuel describes Rasiya and Hathrasi Rasiya sub genre, as an elaborated form of Haveli Sangeet. According to Manuel, Braj’s  proximity to the courts of Gwalior, Agra, and Delhi in which Vaishnavite devotional Haveli Sangeet evolved as a parallel form to the classical Dhrūpad, enriched Braj’s culture and music.

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Rasiya forms a style of Indian folk music, a traditional song genre mainly performed during the Hindu festival of Holi on the love of Krishna and Radha, are sung to the accompaniment of dholak, drums, or sarangi.

The Braj region basically comprises of towns like Mathura, Nandgaon, Barsane, Vrindavan and Govardhan. Brajbhāsha is spoken as the traditional vernacular, especially in Mathura and Brindavan which are famous as the legendary abodes of the god Krishna. Manuel speaks of a stylized version of Brajbhāsha which was cultivated since the sixteenth century throughout North India as the primary language for Krishnaite poetry.

During Holi, Rasiyas are performed in diverse local forms by villagers, professional entertainers, and participants in temple song sessions and also in Rāslīlā. The doha aalap of the Rasiya introduces a metered section or Hindustani vocal ornaments, displaying Rasiya’s affinity to art music.

Rasiyas are usually written from the female perspective of Radha and portray Krishna and his flirtation with her. In his book, Manuel also quotes a research by Indian scholar, Usha Banerjee and her 1986 dissertation on the poetic aspect of Rasiya.

According to Banerjee, Krishna bhakti is conceived, voiced, and enacted from the female perspective, and would be expressed through any amorous or Krishnaite devotional song. These traditional Krishnaite Rasiyas have a wider Indian appeal due to their religions nature, as Holi songs portraying the love of Krishna and Radha. Rasiya’s international popularity has grown through organizations including International Shri Krishna Consciousness (ISKCON).

Holi of the Braj region not only features Rasiyas, but also a Rasiya competition. Rasiyas are hurled at each other by two groups of men dressed in pink turbans representing Radha Kund and yellow turbans representing Krishna Kund. Different styles of Rasiyas feature in the Lathmar Holi of Braj, featuring a musical question answer session, and a shower of blows from women armed with sticks.

Haveli Sangeet and Rasiyas are still alive in temples and Vaishnav Havelis as devotional temple music in Nathdwara in Rajasthan, Gujarat. Haveli music is considered to have an edge over Dhrupad of Hindustani Music in that it is considered to be sung to and for Krishan himself.

According to Apurva Maniar, a senior member of the Braj Dham Haveli, Rasiyas begin in the Havelis on Vasant Panchami  Day which falls on the fifth day of the waxing fortnight in the Hindu month of Maha. “It is believed that Krishna is in ‘Sakha Bhav’ for forty days from Vasant Panchami to Holi,” Maniar told News India Times. During that time, Krishna can be worshipped as a friend.

Every day of these forty days becomes a preparation for Holi. Rasiyas are sung daily with play of flowers and dry colors. Every day, a fresh ‘Phool Chhadi’ or flower stick is offered to Krishna during Raj Bhog, Maniar said.

The forty days are divided into four categories of Rasiyas, he said. The first ten days are devoted to Radha Rasiyas and devotees play with the image of Krishna and each other with ‘Kesar and Chandan’. The next ten days are devoted to Rasiyas for Lalita ji who was Radha and Krishna’s friend, and the play during those days is with ‘Gulal’. Next ten days are devoted to Rasiyas for Chandravali, another friend of Radha, and Holi is played with ‘Abir’ during those days. The last ten days are Yamunaji Rasiya and Holi is played with ‘Chova’ for those days.

The first day of Holi is kept for the holy fire to which millet pops of ‘dhani’ in Gujarati, or ‘Fagwah’ in Brij bhasha, are offered to the fire. Next day, on ‘Dhuleti’ day, four types of kheer or milk pudding is offered to Sri Nathji during the four bhogs. Then follows Holi played with flowers and dry colors.

The once-a-year Holi Rasiyas hold an immense importance for the Vaishnavites as they are part of their friendship with Krishna.

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