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Bavri meera
fmcd022

Folk Music (Audio CD)
 


Price : U.S $ 18.95


 

Born a princess in fifteenth century India, Mirabai went on to become a Hindu mystic after she felt an extreme instinctive devotion to Lord Krishna, in the praise and persistent worship of whom she spent her life. Breaking away from prevalent social conventions and the bindings of her family and not bothering in the least about the infamy her devotion got her, Mirabai was a revolutionary in the true sense. Following her incessant innate drive which earned her the epithet ‘bavri’- implying someone who is mad, she created and put to tune more than 200 devotional songs- Bhajans, which are now sung all across the country. The songs in this album are those that are attributed to her though it is not entirely impossible that they were penned by others and later became a part of her legacy. As is typical of Bhajan music there is a simple repetitive rhythm pattern accompanied by soulful vocals and simple instruments like Dholak and Manjeera. Some compositions tend to gain tempo toward the end to heighten the feeling of reaching out to the divine. 

a. Ghare Avo Girdhari

Lord Krishna in Hindu mythology is understood to have a dusky complexion and is depicted in shades of blue in popular imagery. Meerabai requests the one with a dark visage and enticing persona to come to her house. She calls out that “I worship you in taking your name at each bead of the holy rosary. Please descend to my abode”. Her devotion and intensity are beautifully manifest in the bhajan.

b. Ghadi Nahi Avde

Performed by the Meghwal community the song tells the tale of Meera lamenting that the moment when the Lord shall be manifest is not coming to be. ‘Neither can I eat or sleep so tormented am I by separation from you. Oh Lord!Tell me the way by which we can meet and I can lose myself in you’.   

c. Kanhudo Na Jaane

The Mirasi community in singing this soulful composition seeks to illustrate Meerabai’s adoration for Lord Krishna in attempting to bring to his notice her unmarried status and then lamenting the Lord's unawareness of her love for Him.

d. Satguru

Meerabai,in this song appeals to Lord Krishna entreating Him to accept her true devotion to Him. The Nath Jogi group conveys the pure emotions of love and loyalty that Meera wishes to convey to her lord.

e. Mohan Se Preet Ladi

This bhajan is a representation of Meerabai's deep love and intense devotion to Lord Krishna who is addressed as the love of her life. The slow paced bhajan is intrinsic to the culture of Jaisalmer and is sung in a mellifluous voice. The Meghwal community singers add their typical lyricism to the song.

f. Radha Rani

The bhajan from Barmer pleads with Radha to spare Lord Krishna so Meerabai can claim his love for her own. Meerabai express the feelings of envy that she houses for Radha Rani in such simplicity and with the lack of any offence that the tone is poignantly endearing.  

g. Santa Ri Sangat

An intensely passionate Bhajan from the Meghwal community explains the significance of Meerabai keeping company of the one spiritual teacher, Lord Krishna. The music is indigenous to Jodhpur and follows the tale of Meera who has dedicated herself in spirit, in heart and in body to the Lord and wishes to spend her life at his feet.

h. Guru Mahima

Meera sees Krishna not only as a lover and the one she has lost her heart to but also as a teacher and a guide. This Mirasi composition uses the Tandoora, Dholak and Harmonium to sing of the honest, complete and warm submission to a spiritual teacher and guide in one's life.

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