بیتیا گھرانا

Q: Which musicians belong to the Bettiah gharana of dhrupad today?

Indra Kishore Mishra and Falguni Mitra are the singers of the Bettiah gharana's two streams, as the India Foundation for the Arts named them in 2012. Indra Kishore Mishra sings in Bettiah in the Mullick line. Falguni Mitra, born 1942, carries the Benares and Kolkata line from his father, Shib Mitra.

बेतिया घराना

Vocal Gharana Bettiah, Bihar

بیتیا گھرانا ہندوستانی کلاسیکی گلوکاری میں دھرپد کی ایک روایت ہے جو بہار کے موجودہ ضلع مغربی چمپارن میں بیتیا راج کے دربار میں سترھویں صدی کے آخر سے پروان چڑھی اور انیسویں صدی کے آغاز میں عروج پر پہنچی۔ بعض ماخذ اس کا نام Betia لکھتے ہیں۔ اس گھرانے کا کوئی ایک بانی نہیں۔ سمترا رنگناتھن کا 2015 کا برکلے کا مطالعہ بتاتا ہے کہ سترھویں صدی کے اختتام تک ملک گلوکار خاندان دربار میں موجود تھے۔ ان کی خاندانی روایت کے مطابق شاہجہاں نے دو بانیوں کو راجا گج سنگھ کے پاس بھیجا۔ بندش سازی دو شاعر راجاؤں، آنند کشور سنگھ اور نول کشور سنگھ، کے دور میں عروج پر پہنچی۔ بنگلاپیڈیا گھرانے کے آغاز کا سہرا صرف آنند کشور کے سر باندھتا ہے۔

رنگناتھن کے حساب سے دو سلسلوں میں ایک ہزار سے زیادہ بندشیں محفوظ ہیں۔ انڈیا فاؤنڈیشن فار دی آرٹس (آئی ایف اے) کا آرکائیو منصوبہ ان کی مکمل چار حصوں والی ساخت کو نمایاں کرتا ہے، یعنی استھائی، انترا، سنچاری اور آبھوگ، جبکہ بعض دوسرے گھرانے صرف دو حصے رکھتے ہیں۔ بہت سے گیت کسی نامزد بانی، یعنی جمالیاتی نمونے، پر چلتے ہیں، اور آئی ایف اے اس اصطلاح کو متنازع کہتا ہے۔ رنگناتھن کے مطابق انیسویں صدی کے آغاز میں بیتیا کے موسیقاروں نے چار بانیاں طے کیں: گوڑہار، ڈاگور، نوہار اور کھنڈار۔ آلاپ اپنے فقرے انہی بندشوں سے لیتا ہے، جن کے بول دیوی اور مہادیو کی تعظیم میں ہیں۔ کھٹکا نامی ایک رسمی گیت درگا پوجا میں بکرے کی قربانی کے ساتھ گایا جاتا ہے۔

رنگناتھن نے درج کیا ہے کہ 1780 کے آس پاس شیو دیال مشرا کی نیپال کے دربار سے آمد ہوئی اور انہوں نے مشرا سلسلہ شروع کیا۔ انیسویں صدی کے آخر میں دربار کی سرپرستی ختم ہوئی تو یہ سلسلہ بنارس اور کولکاتا منتقل ہو گیا۔ بیتیا کے موروثی موسیقاروں میں سے جے کرن مشرا نے بھولا ناتھ پاٹھک کو سکھایا، جن کا تعلق بنارس سے تھا اور جن کا فن گلوکاری بھی تھا اور پکھاوج بھی۔ پاٹھک نے 1920 کی دہائی سے شب مترا کو سکھایا۔ شب مترا نے نصیرالدین خان ڈاگر سے آلاپ بھی سیکھا، اور ان کے بیٹے پھالگنی مترا اس آلاپ کو بیتیا کے دھرپد اور دھمار سے جوڑتے ہیں۔ یہ سلسلہ لے کاری کے ساتھ درمیانی سست لے اپناتا ہے، اور رنگناتھن کے مطابق صرف یہی سلسلہ ڈاگور اور نوہار کے گیت محفوظ رکھتا ہے۔

دوسرا سلسلہ بیتیا میں ملک خاندانوں کے پاس رہا۔ اندر کشور مشرا نے اپنے والد مہنت مشرا سے سیکھا، اور انہوں نے شیاما ملک سے۔ ان خاندانوں نے پکھاوج نواز بھی پیدا کیے، اور بیسویں صدی کے آخر تک ان میں سے زیادہ تر نے دھرپد گانا چھوڑ دیا تھا۔ فریدالدین ڈاگر اور بہار سنگیت ناٹک اکادمی کے گجیندر نارائن سنگھ نے اندر کشور مشرا کو محفلوں کے اسٹیج تک لانے میں مدد کی۔ وہ بہت سست لے میں، بھاری گوڑہار انداز میں گاتے ہیں۔ 2012 میں آئی ایف اے نے انہیں اور پھالگنی مترا کو وہ گلوکار قرار دیا جو گھرانے کے دونوں دھاروں کی نمائندگی کرتے ہیں۔

اہم فنکار

آنند کشور سنگھ، بیتیا کے مہاراجا اور دھرپد کے بندش ساز، انیسویں صدی کا آغاز
نول کشور سنگھ، بیتیا کے مہاراجا اور دھرپد کے بندش ساز، انیسویں صدی
شیو دیال مشرا، بیتیا میں مشرا سلسلے کا آغاز ان سے ہوا، آمد 1780 کے آس پاس
شیاما ملک، ملک خاندانوں سے، موروثی گلوکار، بیسویں صدی کے اوائل سے وسط تک سرگرم
بھولا ناتھ پاٹھک، بنارس سے، گلوکار اور پکھاوج نواز، جے کرن مشرا سے تعلیم یافتہ
شب مترا، 1920 کی دہائی سے بھولا ناتھ پاٹھک کے شاگرد اور پھالگنی مترا کے گرو
اندر کشور مشرا، بیتیا کے ملک خاندانوں کے موروثی گلوکار، مہنت مشرا کے بیٹے اور شاگرد
پھالگنی مترا، بنارس اور کولکاتا والے سلسلے کے گلوکار، شب مترا کے بیٹے اور شاگرد

ماخذ

Sumitra Ranganathan, Dwelling in my Voice: Tradition as musical judgment and aesthetic sense in North Indian classical Dhrupad، پی ایچ ڈی مقالہ، University of California, Berkeley (2015)
India Foundation for the Arts، سمترا رنگناتھن کے بیتیا گھرانا آرکائیو کے لیے گرانٹ کا خلاصہ (2012)
Banglapedia, Asiatic Society of Bangladesh، Gharana پر اندراج

شیئر کریں

Origins & History

Sumitra Ranganathan's study places the Mullick families, hereditary dhrupad singers, at Bettiah by the end of the 17th century, in the service of the Bhumihar kings. Mullick oral history says a singer and a been player came by way of Shah Jahan's court, and that the emperor gave them to Raja Gaj Singh. The story is lore: Gaj Singh's reign began in 1659, after Shah Jahan's had ended. Three Mullick lineages claim land grants from the Maharajas and dispute one another's family trees.

A second line began with Shivdayal Mishra, who came to Bettiah from the Nepal court around 1780 and is said to have taught the Maharajas as well as his own family. His descendants claim the teaching of Karim Sen, a Seniya musician at that court, though Ranganathan calls Karim Sen's identity unclear.

Composition peaked under Maharaja Anand Kishore Singh (r. 1816 to 1838) and Maharaja Naval Kishore Singh (r. 1838 to 1855), both poets. Banglapedia credits Anand Kishore alone with starting the gharana. Court patronage ended in the late 19th century, and the British Court of Wards took over the estate from 1897.

"A unique feature of Bettiah Dhrupads is that many of them are set to specific banis"

— Sumitra Ranganathan
Dwelling in my Voice: Tradition as musical judgment and aesthetic sense in North Indian classical Dhrupad, PhD dissertation, University of California, Berkeley (2015)

تاریخی ٹائم لائن

Late 17th century

The Mullick families settle at Bettiah

Hereditary dhrupad singers of the Mullick families settle at the Bettiah court in the service of its Bhumihar kings.

Around 1780

Shivdayal Mishra arrives from Nepal

Shivdayal Mishra comes to Bettiah from the Nepal court and starts the Mishra line, later called the Mishras of Benares.

1816 to 1855

The composer-kings

Anand Kishore Singh and then Naval Kishore Singh rule Bettiah, and dhrupad composition at the court reaches its peak. Bettiah musicians fix the four banis in the early 19th century.

1897

Court of Wards takes over

The British Court of Wards takes over the Bettiah estate, after court patronage of music has ended amid legal disputes and ill-health.

1920s

Shib Mitra begins learning in Benares

Shib Mitra starts lessons with Bholanath Pathak in Benares; his lesson notebooks date from 1927. He studies with Pathak for over a decade.

1936

Shyama Mullick sings at Muzaffarpur

Shyama Mullick sings jugalbandi dhrupad at the All India Music Conference in Muzaffarpur, representing the Mullick line.

1942

Falguni Mitra is born

Falguni Mitra is born and begins learning from his father, Shib Mitra, at the age of five.

2012

Two living streams named

The India Foundation for the Arts names Indra Kishore Mishra and Falguni Mitra as the singers of the gharana's two living streams.

Lineage & Legacy

The guru-shishya tradition passed down through generations

Two lineages carry the Bettiah repertoire. The Mullick families stayed in Bettiah, where sons learned from their fathers and many families turned to the pakhawaj. The Mishra line left for Benares and Kolkata in the late 19th century and taught outside hereditary families: Jaikaran Mishra taught Bholanath Pathak of Benares, who taught the Bengali engineer Shib Mitra from the 1920s. Shib Mitra passed the line to his son Falguni Mitra.

Court period, 17th to 19th century

The Mullick families

From the late 17th century

Hereditary dhrupad singers

Settled at the Bettiah court in the service of its kings. Their ancestors, they say, set the Maharajas' verses to music, and three lineages still claim a presence from that time.

Shivdayal Mishra

Arrived around 1780

Founder of the Mishra line

Came to Bettiah from the Nepal court and is said to have taught both his descendants and the Maharajas. His line later became known as the Mishras of Benares.

Anand Kishore Singh

Reigned 1816-1838

Maharaja and composer

Poet-king whose reign saw a burst of dhrupad composition at the court. Banglapedia credits him with starting the gharana; Ranganathan treats him as a composer-patron.

Naval Kishore Singh

Reigned 1838-1855

Maharaja and composer

Also written Nawal Kishore. He continued his predecessor's composing, and songs credited to the two kings survive in large numbers.

Guru-Shishya Tradition

Late 19th to mid 20th century

Jaikaran Mishra

Late 19th century

Hereditary Bettiah musician

Left Bettiah in the late 19th century and taught Bholanath Pathak of Benares, carrying the Mishra repertoire outside the hereditary families.

Bholanath Pathak

Early 20th century

Singer and pakhawaj player

A Benares musician from outside the hereditary families. He learned dhrupad from Jaikaran Mishra and pakhawaj in the Khudau Singh line.

Shyama Mullick

Early to mid 20th century

Mullick-line singer

Sang jugalbandi dhrupad at the 1936 All India Music Conference in Muzaffarpur. All India Radio Patna recorded him in 1960 or 1961; the recording is lost.

Shib Mitra

Learning from the 1920s

Disciple of Bholanath Pathak

Also called Shibkumar Mitra. He studied with Pathak in Benares for over a decade and took alap lessons from Nasiruddin Khan Dagar.

Guru-Shishya Tradition

Later 20th century

Falguni Mitra

Born 1942

Singer of the Benares and Kolkata line

Learned from his father, Shib Mitra, from the age of five. His style joins Dagar alap with the Bettiah way of singing dhrupad and dhamar.

Indra Kishore Mishra

Active from the 1980s

Mullick-line singer in Bettiah

A hereditary musician of the Mullick families in Bhanu Chapra, Bettiah. He learned from his father, Mahant Mishra, a pupil of Shyama Mullick.

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

Anand Kishore Singh, Maharaja and composer, reigned 1816-1838
Naval Kishore Singh, Maharaja and composer, reigned 1838-1855
Shivdayal Mishra, founder of the Mishra line, arrived around 1780
Shyama Mullick, Mullick-line singer, early to mid 20th century
Bholanath Pathak, Benares singer and pakhawaj player
Shib Mitra, disciple of Bholanath Pathak from the 1920s
Indra Kishore Mishra, Mullick-line singer in Bettiah
Falguni Mitra, born 1942, singer of the Benares and Kolkata line

موسیقی کی خصوصیات

Distinctive style, techniques, and aesthetic philosophy

Overall Style

Bettiah is a song tradition first. Its compositions are kept in all four parts, many are set to a named bani, an aesthetic model, and the alap takes its phrases from the songs themselves. Ranganathan describes two tempos: the Bettiah stream sings very slowly in a heavy gaurhar style, while the Benares and Kolkata stream takes a medium-slow pace and adds layakari, rhythmic variation.

Songs set to banis

Many Bettiah dhrupads are composed in a named bani, an aesthetic model. Bettiah musicians are credited with fixing four of them in the early 19th century: gaurhar, dagur, nauhar and khandar.

All four parts

Compositions keep sthayi, antara, sanchari and abhog. The India Foundation for the Arts sets this against gharanas whose songs survive in two parts only.

Alap from the songs

The alap, the unmetred opening, draws its phrases from the compositions, so the song repertoire shapes the improvisation as well.

Two tempos

Indra Kishore Mishra sings at a very slow tempo in a circular gaurhar style. Falguni Mitra's line moves at medium-slow speed with rhythmic play.

Signature Repertoire

Over a thousand compositions survive in the repertoires of the two lineages, in both dhrupad and dhamar. Their texts honour Devi and Mahadev, and some serve ritual: the khatka is sung at the goat sacrifice during Durga Puja. Both streams sing gaurhar and khandar banis, while dagur and nauhar songs survive only in Falguni Mitra's line, by Ranganathan's account.

Compare with Similar Gharanas

Understand how بیتیا گھرانا differs from other traditions

Select a Gharana to Compare:

	بیتیا گھرانا (Current)	ڈاگر گھرانا (Comparing)
قِسم	Vocal	Vocal
ماخذ	Bettiah, Bihar	Jaipur
Style	Bettiah is a song tradition first. Its compositions are kept in all four parts, many are set to a named bani, an aesthetic model, and the alap takes its phrases from the songs themselves. Ranganathan describes two tempos: the Bettiah stream sings very slowly in a heavy gaurhar style, while the Benares and Kolkata stream takes a medium-slow pace and adds layakari, rhythmic variation.	A Dagar performance centres on a long, slow and meditative alap, the unmetred opening, with close attention to microtonal shading and to the raga's character. A composition with pakhawaj, the barrel drum, follows. The family has long sung in pairs of brothers.

View ڈاگر گھرانا Details

Influence & Legacy

The Mishra line took Bettiah dhrupad to Benares, where it passed through the Kashi Sangeet Samaj and the Gopal Mandir, and on to Kolkata. In Bettiah itself, by the late 20th century most families had stopped singing dhrupad. Fariduddin Dagar and Gajendra Narain Singh, then Secretary of the Bihar Sangit Natak Akademi, helped bring Indra Kishore Mishra to the concert stage. Musicians of Kalpi were also linked to the court; their descendants live in Naya Tola, Bettiah.

اکثر پوچھے جانے والے سوالات

The Bettiah gharana is a court dhrupad tradition from Bettiah in Bihar. It is known for a large song repertoire, over a thousand compositions, many set to a named bani and kept in all four parts.

The Bettiah gharana has no single founder. The Mullick families settled at the court in the late 17th century, and Shivdayal Mishra began a second line around 1780. Banglapedia credits Maharaja Anand Kishore Singh with starting the gharana, while Sumitra Ranganathan treats him and Naval Kishore Singh as composer-patrons.

Indra Kishore Mishra and Falguni Mitra are the singers of the Bettiah gharana's two streams, as the India Foundation for the Arts named them in 2012. Indra Kishore Mishra sings in Bettiah in the Mullick line. Falguni Mitra, born 1942, carries the Benares and Kolkata line from his father, Shib Mitra.

Bettiah dhrupad centres on its songs, many set to a named bani and sung in all four parts, while the Dagar style centres on a long, slow, meditative alap. Falguni Mitra's line joins the two: his father, Shib Mitra, learned alap from Nasiruddin Khan Dagar and Bettiah dhrupad from Bholanath Pathak. Read more on the Dagar gharana page.

The Bettiah gharana has roots in the late 17th century, when the Mullick families settled at the court. It flowered in the early 19th century under Anand Kishore Singh and Naval Kishore Singh. The India Foundation for the Arts also speaks of the 18th-century courts, and Banglapedia of the early 19th century.

The four Bettiah banis are gaurhar, dagur, nauhar and khandar, fixed in the early 19th century. Both living streams sing gaurhar and khandar. Dagur and nauhar songs survive only in the Mishras of Benares line, which Falguni Mitra carries, according to Sumitra Ranganathan.

Indra Kishore Mishra's Bettiah stream is the slower and heavier, in gaurhar style. Falguni Mitra's Benares and Kolkata line takes a medium-slow tempo and adds layakari, rhythmic variation. Only Falguni Mitra's line keeps the dagur and nauhar songs.

The Bettiah gharana began at the Bettiah court in Bihar, but one of its two streams has lived in Benares and Kolkata since the late 19th century. The Mullick stream stayed in Bettiah with Indra Kishore Mishra.

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