A celebration of secular notes at the Sacred Spirit Festival 

Meharangarh Fort hosts the annual Sacred Music Festival

You do not have to be religious to connect with the sacred. If you agree, you’ve probably had the chance to listen to deeply-felt music under an open sky. The Sacred Spirit Festival held recently at venues in and around the picturesque Mehrangarh Fort, Jodhpur, Rajasthan, offered a chance to experience this. A variety of instruments (made of reed, wood, string) and the human voice created synergies between remote parts of the world.

The music was new and ancient, modern and traditional, sung solo or in groups, in languages known and unknown. And, it spoke of the themes of connection, mentorship and dedication. More than perfection, the music spoke of immersive engagement.

While Mohd Aman Khan heralded the day with khayals set in raags such as  Desi Thodi and Ahir Bhairav , musicians from the Meghwal, Manganiyar and Langa communities wowed audiences with their soulful repertoire steeped in religious motifs different from their own religious roots. Anwar Khan, Talab Khan and others who performed on the last morning of the festival demonstrated the power of music to be free of boundaries.

The Chaar Yaar Ensemble led by Madan Gopal Singh strung together medleys — meditative and merry — taking listeners to meet Bulleh Shah, Bertolt Brecht, Kabir and Rumi, all in one afternoon. The audience was happy to co-travel. The voices of Kelam and Dariya from Barmer rang out sweet and clear. S. Swaminathan’s veena recital was vibrant and fast paced, with the thani avarthanamadding a sparkle.

The other set of afternoon concerts saw the fiddle and Carnatic violin play one after the other. Violinist CS Anuroop and his disciple Parvathy Dileep kept the audience tapping their feet to ragas such as Hamsadhwani and Kathanakuthuhalam (‘Gana murthe’ provided a lilting contrast). Violoneuses Perrine Bourel and Mana Serrano conjured up the Southern Alps through renditions on the fiddle, morching and voice — their collaborator Mosin Kawa on the tabla lent the Rajasthani flavour. 

The Khusal Trio delighted with women’s songs of wisdom in Occitan. The Trio’s subsequent collaboration with veteran Kamaicha players Ghewar Khan, Dara Khan and others felt unequal, however, and one wished to hear more from the seasoned folk musicians.

The early evening concerts struck an emotional appeal, with Ranjani and Gayathri’s Carnatic renditions holding the audience as riveted as Naissam Jalal’s genre-bending music that reflected her reverence for Hindustani music. The latter, based on five Indian landscapes that had moved her, saw the audience lingering to interact, despite a time call from another venue packed with more artistic treats.