भेंडीबाजार घराणे

भेंडीबाजार घराना

Vocal Gharana Mumbai Late 19th century

Founded By

छज्जू खान, नजीर खान

भेंडीबाजार घराणे (Bhendi Bazaar किंवा Bhendibazar असेही लिहिले जाते) हे हिंदुस्थानी ख्याल गायनाचे घराणे असून त्याचे नाव बॉम्बे (मुंबई) मधील भेंडी बाजार भागावरून पडले आहे; १९व्या शतकाच्या अखेरीस त्याचे संस्थापक बंधू तिथे स्थायिक झाले. घराण्याचे शिष्य चालवत असलेला स्वरमंदाकिनी संग्रह आणि नॅशनल सेंटर फॉर द परफॉर्मिंग आर्ट्स त्यांच्या आगमनाचा काळ सुमारे १८७० सांगतात. परंपरेनुसार हे नाव “Behind the Bazaar” या ब्रिटिश शब्दप्रयोगावरून आले.

तीन बंधूंनी हे घराणे स्थापन केले: छज्जू खान, नजीर (Nazeer) खान आणि खादिम हुसेन खान. संग्रहातील नोंदीनुसार ते मुरादाबादजवळील बिजनौर (Bijnor) येथील दिलावर हुसेन खान यांचे पुत्र आणि पहिले शिष्य होते. याच वृत्तांतानुसार या बंधूंनी रामपूर-सहसवान घराण्याचे इनायत हुसेन खान यांच्याकडे तालीम घेतली आणि डागर परंपरेतील इनायत खान नावाच्या एका संगीतकाराकडे ध्रुपदाचा अभ्यास केला. सुहासिनी कोरटकर यांच्यावरील आउटलुकच्या मृत्युलेखानुसार या ध्रुपद तालमीनेच घराण्याच्या विलंबित ख्यालाला आकार दिला. नजीर खान यांच्या प्रमुख शिष्या गोव्याच्या अंजनीबाई मालपेकर (१८८३-१९७४) होत्या. त्यांनी आपली शेवटची जाहीर मैफल १९२३ मध्ये दिली, आपल्या गुरूंच्या निधनानंतर तीन वर्षांनी.

या घराण्याचे गायक ‘आ’ या स्वरावर मोकळा आवाज लावतात; याला आकार म्हणतात. घराण्याचा भर श्वासावरील नियंत्रण यावर असतो, आणि त्याचे गायक लांब स्वरवाक्ये एका श्वासात पेलतात. ते रागाची सुरुवात सावकाश, कोणतीही घाई न करता करतात. विस्तारित आलाप (तालाशिवायचा आरंभ) आणि तान (स्वरांची द्रुत लड) मेरुखंड पद्धतीवर आधारलेले असतात; या पद्धतीला खंडमेरु असेही म्हणतात, आणि तिच्यात गायक मोजक्या स्वरांचा गट अनेक क्रमांत फिरवतात. सरगम तानांनाही हीच पद्धत लागू होते. गायक जोरकस गमक तानाही घेतात: प्रत्येक स्वरावर जड आंदोलन असलेल्या द्रुत ताना.

संग्रह छज्जू खान यांचे पुत्र अमान अली खान (मृत्यू १९५३) यांना या शैलीतील कर्नाटक संगीताच्या अंशाचे आणि सुमारे ४०० बंदिशींचे श्रेय देतो; या बंदिशी त्यांनी ‘अमर’ या टोपणनावाने रचल्या. त्यांनी म्हैसूर दरबारातील संगीतकार बिडाराम कृष्णप्पा यांच्याकडे कर्नाटक संगीताचे शिक्षण घेतले. घराण्याच्या रचनासंग्रहात हंसध्वनी आणि नागस्वरावली यांसारखे कर्नाटक राग आहेत, आणि काही लेखक हंसध्वनी प्रथम हिंदुस्थानी संगीतात आणण्याचे श्रेय अमान अली खान यांना देतात. टी. डी. जानोरीकर आणि शिवकुमार शुक्ल यांच्यासह त्यांच्या शिष्यांनी रेडिओ आणि संगीत परिषदांमधून ही शैली पुढे नेली, आणि इंदूर घराण्याचे अमीर खान त्यांना आपल्यावरील मोठा प्रभाव मानत. संग्रहानुसार सुमारे १९६० नंतर ही शैली सुप्तावस्थेत गेली; १९८०च्या दशकापासून जानोरीकर यांच्या शिष्य सुहासिनी कोरटकर यांनी तिचे पुनरुज्जीवन केले.

प्रमुख कलाकार

  • छज्जू खान, सहसंस्थापक, १९व्या शतकाची अखेर
  • नजीर खान, सहसंस्थापक आणि अंजनीबाई मालपेकर यांचे गुरू, मृत्यू १९२०
  • खादिम हुसेन खान, सहसंस्थापक, १९व्या शतकाची अखेर; याच नावाचे नंतरचे आग्रा गायक वेगळे
  • अमान अली खान, गायक आणि रचनाकार, मृत्यू १९५३
  • अंजनीबाई मालपेकर, गायिका, १८८३-१९७४
  • टी. डी. जानोरीकर, गायक आणि गुरू, १९२१-२००६
  • सुहासिनी कोरटकर, या शैलीचे पुनरुज्जीवन करणारे गायन कलाकार, १९४४-२०१७

संदर्भ

  • Swaramandakini, भेंडीबाजार घराण्याचा संग्रह (2009)
  • Rajan P. Parrikar Music Archive, अमान अली खान आणि अंजनीबाई मालपेकर यांच्यावरील नोंदी
  • National Centre for the Performing Arts, Mumbai, व्याख्यान-प्रात्यक्षिकाची टिपणी (2017)
  • Karthik Venkatesh, Suhasini Koratkar: Classical Vocalist Who Enriched The Special Flavour Of Bhendibazaar, Outlook (2017)
  • Aneesh Pradhan, Listen: Compositions in raag Hamsadhvani, the sound of the swan, Scroll (2020)
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शेअर करा

Origins & History

Three brothers founded the gharana: Chhajju Khan, Nazir Khan and Khadim Hussain Khan. The Swaramandakini archive, kept by the gharana's own disciples, records them as sons and first pupils of Dilawar Hussain Khan of Bijnaur (Bijnor), near Moradabad. In the same account they trained with Inayat Hussain Khan of the Rampur-Sahaswan gharana and studied dhrupad with an Inayat Khan of the Dagar line. Family tradition credits that dhrupad study with the school's slow, deliberate khayal.

The archive and the National Centre for the Performing Arts date the brothers' move to Bombay to around 1870; other accounts put the founding nearer 1890. Tradition derives the district's name from a British phrase, "Behind the Bazaar". By the archive's account, Nazir Khan taught at the Gayan Uttejak Mandali in Bombay and discussed music with V. N. Bhatkhande.

ऐतिहासिक कालरेषा

Around 1870

The founders settle in Bombay

The three brothers, originally of Bijnaur, settle in Bombay, by the dating of the lineage archive and the National Centre for the Performing Arts. Other accounts give about 1890.
1920

Nazir Khan dies

Nazir Khan, co-founder of the gharana, dies. His disciple Anjanibai Malpekar gives her last public concert three years later.
1953

Aman Ali Khan dies

Aman Ali Khan dies on 11 February 1953, leaving about 400 bandishes composed under the pen name Amar.
1958

Fellowship for Anjanibai Malpekar

Anjanibai Malpekar is elected a Sangeet Natak Akademi Fellow, the first woman to receive it.
About 1960

The style falls quiet

By the lineage archive's account, the Bhendibazaar style falls dormant after about 1960, with few singers performing it.
1980s

Suhasini Koratkar revives the style

Suhasini Koratkar, disciple of T. D. Janorikar, brings the Bhendibazaar style back to the concert stage.

Lineage & Legacy

The guru-shishya tradition passed down through generations

The founders' teaching passed to the next generation through two pupils above all. Chhajju Khan's son Aman Ali Khan taught a wide circle, among them Shivkumar Shukla, T. D. Janorikar and Ramesh Nadkarni, who carried the style through radio and music conferences. Nazir Khan's principal disciple was Anjanibai Malpekar of Goa. The line came back to the stage through Janorikar's disciple Suhasini Koratkar, who revived the style from the 1980s.

Founders

Chhajju Khan

19th century

Co-founder

One of the three founding brothers and the father of Aman Ali Khan. Family tradition says he specialised in dhrupad.

Nazir Khan

Died 1920

Co-founder

Trained Anjanibai Malpekar and, by the lineage archive's account, taught at the Gayan Uttejak Mandali in Bombay. Family tradition credits him with an alap rich in meend, the glide between notes.

Khadim Hussain Khan

19th century

Co-founder

Third of the founding brothers, remembered in family tradition for vigorous taans built on khandmeru. He is a different singer from the later Agra singer of the same name.
Guru-Shishya Tradition

Second generation

Aman Ali Khan

1884 or 1888 to 1953

Vocalist and composer as Amar

Son of Chhajju Khan. He studied Carnatic music with Bidaram Krishnappa of the Mysore court and is credited with about 400 bandishes, composed under the pen name Amar.

Anjanibai Malpekar

1883-1974

Vocalist

Principal disciple of Nazir Khan, from Goa. In 1958 she became the first woman elected a Fellow of the Sangeet Natak Akademi.
Guru-Shishya Tradition

Pupils of Aman Ali Khan

Shivkumar Shukla

1918-1998

Vocalist, disciple of Aman Ali Khan

One of the pupils of Aman Ali Khan who carried the Bhendibazaar style to listeners through radio broadcasts and music conferences.

T. D. Janorikar

1921-2006

Vocalist and teacher

Disciple of Aman Ali Khan and teacher of Suhasini Koratkar. The revival of the style in the 1980s came through his pupil.

Ramesh Nadkarni

1921-1995

Vocalist, disciple of Aman Ali Khan

Pupil of Aman Ali Khan, named in the lineage archive among the singers who kept the style before it fell quiet around 1960.
Guru-Shishya Tradition

Revival

Suhasini Koratkar

1944-2017

Vocalist who revived the style

Disciple of T. D. Janorikar. The lineage archive credits her with bringing the Bhendibazaar style back from the 1980s, after it had fallen dormant around 1960.

The gharana system is rooted in the guru-shishya (teacher-disciple) tradition, where musical knowledge and style are passed down through direct apprenticeship over three or more generations.

Key exponents

  • Chhajju Khan, co-founder, 19th century
  • Nazir Khan, co-founder, died 1920
  • Khadim Hussain Khan, co-founder, not the later Agra singer
  • Aman Ali Khan, died 1953, vocalist and composer as Amar
  • Anjanibai Malpekar, 1883-1974, disciple of Nazir Khan
  • T. D. Janorikar, 1921-2006, vocalist and teacher
  • Suhasini Koratkar, 1944-2017, revived the style

सांगीतिक वैशिष्ट्ये

Distinctive style, techniques, and aesthetic philosophy

Overall Style

Bhendibazaar singers open a raga at an unhurried pace and sing it on aakar, an open voice on the vowel 'aa'. Long phrases in a single breath are a point of training. The development rests on merukhand, also called khandmeru, which works a small group of notes through many orders, and on sargam, the sung note names.

Merukhand

Merukhand, or khandmeru, permutes a small group of notes through many orders. Bhendibazaar singers use it to build extended alap and taan.

Aakar

Singers keep the voice open on the vowel 'aa' and hold each note in clear intonation.

One breath

The gharana stresses breath control, and its singers carry long passages in a single breath.

Sargam patterns

Sargam passages, sung on the note names, get the same permutation treatment, with rhythmic play across the tala.

Gamak taans

Fast runs with a heavy oscillation on each note give the taans their force. Outlook links them, tentatively, to the Carnatic element.

Signature Repertoire

The repertoire holds Carnatic ragas such as Hamsadhwani, Nagaswaravali and Pratapavarali, which came in chiefly through Aman Ali Khan's study with Bidaram Krishnappa. Aman Ali Khan composed about 400 bandishes under the pen name Amar, by the lineage archive's count. Some writers, Aneesh Pradhan reports, credit him with first bringing Hamsadhwani into Hindustani music.

Signature Ragas

हंसध्वनी

Famous Compositions

Lagi lagan

By: Aman Ali Khan

Why it's special:

Its opening is modelled on the Carnatic kriti Vatapi Ganapatim, as Rajan P. Parrikar's archive notes, a direct trace of Aman Ali Khan's Carnatic study.

Compare with Similar Gharanas

Understand how भेंडीबाजार घराणे differs from other traditions

Select a Gharana to Compare:

भेंडीबाजार घराणे
(Current)		 किराणा घराणे
(Comparing)
प्रकार Vocal Vocal
उगम Mumbai Kairana
Era Late 19th century Late 19th century
Style Bhendibazaar singers open a raga at an unhurried pace and sing it on aakar, an open voice on the vowel 'aa'. Long phrases in a single breath are a point of training. The development rests on merukhand, also called khandmeru, which works a small group of notes through many orders, and on sargam, the sung note names. The Kirana style centres on the swara: the exact intonation and expression of each note. A singer unfolds the raga note by note in slow vilambit tempo, with an extended alap, and the emphasis falls on melody more than rhythm. The recording producer G. N. Joshi named precise tunefulness, a graceful presentation of the bandish and disciplined raga development as the gharana's marks.
View किराणा घराणे Details

Influence & Legacy

Aman Ali Khan's pupils carried the style through radio and conferences, and his reach went past the gharana. Amir Khan of the Indore gharana counted him a major influence, and Amir Khan's father, the sarangi player Shahmir Khan, is said to have trained with the gharana. The film singers Lata Mangeshkar and Manna Dey studied with Aman Ali Khan for a time. Anjanibai Malpekar later guided Kumar Gandharva and Kishori Amonkar.

वारंवार विचारले जाणारे प्रश्न

What is the Bhendibazaar gharana?

The Bhendibazaar gharana is a school of khayal singing named after the Bhendi Bazaar district of Bombay, where three brothers founded it in the late 19th century. Its singers use merukhand, a system of note permutations, an open aakar voice and long breaths, and its repertoire includes Carnatic ragas.

Who founded the Bhendibazaar gharana?

Three brothers founded the Bhendibazaar gharana: Chhajju Khan, Nazir Khan and Khadim Hussain Khan, sons of Dilawar Hussain Khan of Bijnaur. They trained with Inayat Hussain Khan of the Rampur-Sahaswan gharana and settled in Bombay around 1870, by the lineage archive's dating.

Which musicians belong to the Bhendibazaar gharana today?

The most recent singer named as carrying the Bhendibazaar style is Suhasini Koratkar (1944-2017), who revived it from the 1980s after learning from T. D. Janorikar. Disciples of the gharana keep its Swaramandakini archive, which records the lineage and its compositions.

How does the Bhendibazaar gharana differ from the Kirana gharana?

The Bhendibazaar gharana builds its khayal on merukhand note permutations, sargam and rhythmic play, while the Kirana gharana stresses melody over rhythm and precise intonation of each note in a slow vilambit alap. Kirana singers also use sargam, and Abdul Wahid Khan of Kirana sang a merukhand alap. Read more on the Kirana gharana page.

Why is it called the Bhendi Bazaar gharana?

The gharana is named after Bhendi Bazaar, the district of Bombay (Mumbai) where its founding brothers settled. Tradition, recorded in the lineage archive, derives the district's name from the British phrase "Behind the Bazaar", for the area near Crawford Market.

What is merukhand and how does the Bhendibazaar gharana use it?

Merukhand, also called khandmeru, is a method of working a small group of notes through many different orders. Bhendibazaar singers use it to build extended alap and taan, and they treat sargam passages the same way. Family tradition credits Khadim Hussain Khan with vigorous taans in this style.

Where does the Carnatic influence in Bhendibazaar gayaki come from?

The Carnatic influence came chiefly through Aman Ali Khan, son of Chhajju Khan, who studied Carnatic music with Bidaram Krishnappa, a court musician of Mysore. The repertoire holds Carnatic ragas such as Hamsadhwani and Nagaswaravali, and his Hamsadhwani bandish Lagi lagan opens like the kriti Vatapi Ganapatim.

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