In the present study, the traditional music of Kashmir has been divided into the following categories:

• Songs sung by women folk.

• Songs sung by minstrel.

• Songs sung by farmers.

• Religious songs.

1.0 Songs sung by Women Folk

Vanvun, Veegyavachan, Van, etc. are some of the folk songs sung by the women folk of Kashmir. Such types of songs are sung at the time of festivals, marriages, etc. and even at the time of death. The lullaby, which is sung all over the world, is also sung by the women of Kashmir by the name of Lalnavun. Another type of music is Hikkachi, where the girls in Kashmir get together and sing. Such songs are full of love, affection and warmth.

1.1 Vanvun

Vanvun played a leading role in maintaining the continuity of our culture from the vedic period through the Ramayana, the Mahabharata and Shrimata Bhagwat, till the present day. Hindu Vanvun preserves our faith in spiritual and ancient beliefs. Besides, it provides religious fervour and divine grace to the occasions as we welcome Lord Shiva and Parvati to participate at the outset of every ceremony.

Meaning: Vanvun is a prayer in the form of folk music. It commences with a prayer to God. The results are obviously auspicious, blessed by mother goddess Bhawani. Not only this, the subjects of Vanvun also refer to the event of the Vedic period. The customs till date are followed accordingly. For example, in Vedic period, when Goddess Sinnavali's marriage was performed. God Poosha had prepared a beautiful headgear to decorate her head. This was called 'Kapal-apush' in Sanskrit. Lord Indra, beautifying it further, had wrapped a white strip of cloth around it. This custom prevails among Kashmiris as a compulsory item of marriage even today. 'Kalpush', in Kashmiri, is 'Kapal-apush' in Sanskrit and the white twinkling strip is 'tarang-kor' in Kashmiri.
 
This ancient reality, which might have been forgotten in five thousand years, is alive in the following lines:

Meaning: Vedic God Pushan himself prepared 'Kapal­apush' and decorated it for the head of Sinnavali, but in your case, your father and mother have put it on your head.
The above mentioned lines have been addressed to the bride. Researches are proving the fact that the Kashmiri language, culture as well as religious ceremonies have a direct bearing on the speakers of Rig-Vedic language. Vanvun, thus, is the pure reflection of the same and has been preserving the language and culture for generations to come. In the pronunciation of Vedic language with the use of uddatta, anudatta and swarit, every vowel and its following consonant preserves its pronouncing capacity. The wonderful thing is that the technique with which uddatta, anudatta are used for modulation in chanting of Vedas, is the same as used in Vanvun singing. It is proved today that this style originated four thousand years ago.
Muslims have separated themselves from Hindus in their style of Vanvun singing. Among Kashmiri Hindus, a medium tone is used. It is sung in chorus form. Its soothing melody envelops the whole atmosphere with continuous peace and religious fervour. There is no element of tribal music in it. Both Hindus and Muslims use the same poetry, but the former use the classical mode and the latter the tribal. Muslims change words here and there to separate it from Hindu Vanvun. They sing fast and sometimes very fast. The examples of both are given below:
Hindu pattern of singing (with the use of uddatta, anudatta and swarit):

Meaning: O son-in-law and his father, why did you not come, where we held a gold crown on our heads?
Muslim pattern of singing:

Meaning: O son-in-law and his father, why did you not come, when we had gold on our `dastar' (headgear).
Among Hindus, vanvun performers sit in a round pentagon, hexagon or nonagon form and sing vanvun suiting the ceremony. First line is sung by some respectable old woman (sometimes, a professional singer), who sit, on a slightly higher pedestal. The line is repeated by other women. The alleviation of the tone of the singing patter is maintained throughout its singing, in accordance with the modulation, according to uddatta, anudatta and swarit avarohana.
The series of Hindu vanvun begins from the time when a girl expects a child and during sixth and seventh month of her conceiving. When she carries curd and other gifts to her in-laws. This ceremony is called "Pyav" in Kashmiri language. Milk and curd are considered to be auspicious in Kashmir. Then on the seventh or eighth day after the delivery, a social function is held. It is called 'Shran-sunder' (bath beauty). During the function, a birch leaf is lighted and a folk dance is organized, where 'Shokt pansund' is repeated that means dynasty may again be blessed with a son.
It is followed by singing vanvun:

Meaning: As you were born, I cooked delicacies in lots and invited palmists and pandits.

Or

Meaning: For your birth, I observed fast on the fourth day of Vinayaka, which fell on Sunday: After your birth, I made a thorough search and got an auspicious name for you.
After the birth ceremony, comes "Zarkasaya" (Mundan). Zarkasaya is originated from Jatarushkasan in Sanskrit, i.e. removing hair and making the child bald.

Meaning: After choosing a pious day, it was decided to remove your locks. We are singing vanvun for blessing you. O live long child.
In Kashmir, the hair of only the boy child is removed. On the eleventh day, after the birth of the child, another ceremony Kahanaethur is held. It is christening of the newly born. Yagya is performed. The infant is placed near it and he or she is made to taste pure ghee or honey. This way the impurity of birth is driven away. Parents embrace the child, give a peck on its forehead and welcome with flower petals.

Meaning: I have made a thorough study of 'Brahaskatha' (Book of palmistry) for choosing a name for you. Your name is thus, a blessed one. I will set gold and pearls on your name.
The quantity of Hindu vanvun poetry is much more than that of Muslims.
An important ceremony that follows is yagnopavit, known, in Kashmiri, as 'mekhal'. In present times, Vanvun singing is not prevalent in the above mentioned ceremonies. It has two reasons: first, Vanvun singing is not possible by every woman of Kashmir. Secondly, due to the ignorance of its historical and spiritual value, people spare no time to sit and enjoy Vanvun singing. But 'mekhal' and marriages are not possible without Vanvun even today. On these occasions, the old women, who have the proficiency, and are in demand, enhance the grace, by their performance.
Kashmiri 'mekhal' and marriage ceremony-vanvun can be divided under ten headings:

1. Garnavaya (house cleaning and washing).
2. Dapun (personal invitation of guests for the approaching function).
3. Manzirath (henna dye and night singing).
4. Kroor (after a white wash flowery decoration at the main door).
5. Shran (sitting on stool and dripping milk, curd and bathing).
6. Devgun (welcome to Vedic Gods).
7. Varidan (gifts to the relatives)
8. Yonya (holy fire).
9. Tekya Narivan (holy mark on the forehead and sacred thread tied around the wrist).
10. Kalash Lava (after the worship of Kalash, sprinkling of water).

1.2 Garnavaya Vanavun

Meaning: I salute the Ganga, which originated from the locks of Lord Shiva. While proceeding towards the earth, Brahma, Vishnu and Triloki lords accompanied Ganga. Ganga was followed by fairies from the heaven singing melodious song. I salute that Ganga, which flows from the locks of Lord Shiva.

1.3 Dapun Vanvun

After house cleaning, the lady of the house goes to her parents' home. A big feast is organised by her parents, when she goes to invite them.

Meaning: I have ordered a 'rath' for Devaki, the mother. She has to go to our parents' home to invite them to attend the marriage. I have consulted Nachhpatrika for choosing an auspicious day for the same. I have ordered a rath for the lady who is like Devaki, the loving mother of Lord Krishna. I have brought the rath from the king, decorated it exceedingly and made my son, who is like Lord Krishna to me, sit on it. It was all done according to Nakshatrapatrika.

1.4 Manzi Vanvun

Meaning: All kith and kin have been gathered. Ganga, Yamuna and Saraswati rivers have arrived. King Vasudev's family members have all been collected to attend the 'mehandi raat' of Lord Krishna. Goddess Ragyna arrived from Tulmula. The henna flower has grown in the pond of Tulmul which is the garden of Gods.

1.5 Kroor Vanvun

The tradition of drawing flowers and leaves on the walls is very old in India. In Kashmir, ladies sit on the ground near the main door and sing folk songs. The ladies use seven colours in their drawings and the round lot of saffron is put in the center. This drawing is done by the paternal aunt.

Meaning: I have drawn flowers and leaves with seven colours on the main door and on the auspicious day, put the round saffron dot in the center.

1.6 Shran Vanvun

In Kashmiri language, its synonyms are vuz-shran or gaud shran, which means energetic bath or dripping of water on an idol. The boy or the girl is made to sit on a platform. Four small girls hold the four corners of the white thin cloth and spread it over his/her head. The vedic mantras are changed, after which he or she proceeds for the bath with milk and water. He/she is made to wear new clothes and sit near the altar of the yagya to give offerings.

Meaning: Maternal aunt has decorated the place for bathing. Shri Krishna has to take the beautifying bath.

1.7 Devgun Vanvun

Devgun is originated from 'devagaman' in Sanskrit, which means the arrival of God. It is held one day before marriage or Yagnopavit.
On this day, vedic yagya is held. After the bath, the bride, bridegroom or the lad (in case of Yagnopavit), proceeds for the offerings near the yagya. This ceremony is called 'Devgun'.

Meaning: You are looking like the sun, risen from the East in this dress. I salute you from a distance, Brahmachari (i.e. religious student of serving celibacy).

1.8 Agnikund Vanvun

A huge altar is prepared with bricks, which are pasted with clay. The priest and the boy for yagnopavit sit around it. Fire is lighted for one night and a day. Offerings of dry fruits, flowers and ghee are made.

Meaning: I have used bricks of gold for raising the platform, for lightening the fire for yagnopavit.

1.9 Yagnopavit Vanvun

In Yagnopavit ceremony, the main function is garlanding a child with the thread called 'janeu' in Hindi, which is made of cotton thread. The significance is that after this, the boy becomes a Brahmin. The women get emotionally ­lost in singing the rhymes for this.

Meaning: The cotton plant (out of which, the sacred thread was made) was sown with pious, benevolent mind as was desired by Lord Krishna.
The boy acts as a bhikshak (beggar) and begs for the sake of the family priest. It is called 'abhed', which in Sanskrit means without any feeling of difference. This collection serves as the livelihood for the priest and for his study purposes. The priest persuades the next generations to follow suit.
At the end of the religious function, there is a folk dance.

1.10 Marriage Vanvun

On the marriage ceremony of the boy and the girl, house cleaning and invitation ceremonies are held in the same way in the case of Yagnopavit. But other ceremonies differ and their subject of vanvun changes according to the occasions.

a. Masmuchravun (hair opening of the marriage­able girl)
b. Manzirath (henna dye)
c.  Devgun
d. Lagan (Kanyadaan)

Mehandiraat and devgun ceremonies are performed at the time of marriage. But the subject of mantras as well as vanvun pertains to the marrying boy or the girl.
It is necessary to sing Vanvun on Devgun, which follows mehandiraat. It provides assistance to the celebra­tion through human sensation and expression of doubt and feelings on the occasion as the girl has to go to strangers' house. Among Kashmiri Hindus, at the time of vedic yagya (devgun), red cotton thread is put in the hole of the ears of the girl to hang the hexagon-shaped gold ornament, which is called 'dejhor' in Kashmiri language. In Vedic language, it is called 'aditva-hora'. It indicates lucky future of the girl.

Meaning: Dejhor was made in Vijeshwara. Max, she be blessed.
Then comes the turn of 'dwara-puja' (prayer at the door). The bridegroom and the bride stand at the door. Vedic chantings follow. The father of the girl welcomes the father of the boy by saying 'swagatam bhava' (I welcome you). The father of the boy answers 'suswagatam' (I also welcome you). This enchanting moment is accompanied by a vanvun.

Meaning: Today, for the wedding of Rukmini, the daughter of Bhishmak, i.e. Srikrishna, the dear darling of Vasudeva has arrived.
It is followed by the marriage ceremony. 
In almost all other Hindu communities, bride and bridegroom touch the feet of their parents after the marriage ceremony to get the blessings. In Kashmir the bride and the bridegroom are worshipped as Shiv and Parvati at the end of the marriage ceremony. The custom is that the bride: and the bridegroom are made to sit facing each other and a shawl or preferably a red coloured cloth is spread over them. All the family members and the relatives sprinkle flowers on them. This is called 'posh puja' or the worship with flowers on them.

Meaning: Dharamraja has arrived with religious value of 'Dharama’ along with Ganga Sagar and Vitasta to worship Shiva and Shakti. Today Shiva and Shakti are worshipped as a pair.

1.11 Muslim Vanvun

Muslims do not follow the practice of singing vanvun in the same fashion as the Hindus in Kashmir do. Their pattern of singing is different. They divide themselves into two groups. One group sings a line, which is repeated by the other.
At the end of second half of the fourteenth century. Kashmiri Hindu civilization underwent a drastic change. The culture and tradition got a jolt. Vanvun was no exception. Muslims changed the subject and the style of their vanvun from the original.
They sing in fast speed and sometimes get even faster. They do not have that consistency, which Hindus have in vanvun singing. They generally sing standing. Muslims form two groups, facing each other. One group consists of two rows. First row consists of elderly women. The second row keeps standing and the first row holds each other's back. The second row comes forward with one foot and goes back with the other singing vanvun. This type of singing is prevalent in Kumaon and Garhwal hills. The style and the way of tying a printed scarf around their heads is also prevalent there as is prevalent among Muslim women of Kashmir.

Meaning: Have control over the key of the car and drive the same slowly to his in-law's house.

At the time of birth, Muslims celebrate 'shadiana' to bless the child. The newly born child is taken for bath. Through the left ear, 'azaan' and through the right, 'tak baar' is read. 'Azaan' implies welcome to the child and 'Takbaar' reminds the child of the inevitable death.

Kashmiri Muslims hold 'Zarkasy' (originated from jata­nishkaran, in Sanskrit) in Kashmir. Seventy five percent Muslims in Kashmir are converted Hindus, which is why, some functions are common. Muslims remove the hair of the boy or the girl child after a year and a half of the birth.

Meaning: I have sought auspicious day for your hair removal. May God bless you with long life.
The most important celebration among Muslims is circumcision. They arrange feasts and after the religious ceremony sing vanvun. Among Muslims, vanvun, sung during marriages, comprises of:

a. Tomul-cchattun (rice cleaning)
b. Mehandiraat (henna dye)
c. Masmucchravun (opening of the hair of the girl before marriage)
d. Yenivol (arrival of the groom and the guests)

At the reception of barat, ladies sing vanvun with great enthusiasm.

Meaning: Nightingale, you sing enchantingly in the center of the flowery garden. The bridegroom is arriving.
It will be right to say that nature provided its charm, delicacy and human touch to the music of Kashmir.
Unfortunately, these days, some absurd contents are being added to Hindu vanvun like, 'the bridegroom arrive late' or 'our girl is educated', etc. ,Such meaningless additions have brought down the value of vanvun. Thus Hindu, Vanvun is deviating from its purpose and religious fervour. We have to save it and revive its grace.

1.12 Veegya Vacchan

'Veegya vacchari has originated from a vedic word, 'vishesh yog vacchan', i.e. to be sung on a special occasion. It is sung by Kashmiri Hindu women at the time of Yagnopavit ceremony or at the time of marriage ceremony. When the bridegroom leaves for wedding along with the wedding guests, a round shaped drawing of various designs, in seven colours, is prepared on the white washed piece of ground in the courtyard. It is called 'vyug' in Kashmiri and after the completion of yagnopavit, the boy is made to stand on this and is fed with sweets, after which he is taken to the river for a bath and evening prayers. At his departure, the women of the house stand in a circle, make the lady of the house stand in the center and revolve around her, drawing and singing.

Meaning: After performing yagya with vedic mantras, the lad has departed to the banks of the river for the bath, after the religious observance. He has been carried by his maternal uncle.
The lady of the house (supposed to be the mother of the boy) dances and sings:

Meaning: God bestowed me with the son. He has been brought up by his grand mother. By holding the lad in my lap, my ribs are tired so much so, that they are almost broken, but now thank God, they are in order again.
The dance movement and singing continues till the women feel that the bath of the lad on the banks of the river is over. They then start the next series:

Meaning: We will sing arnivrat and vanvun. Sharika, the lady, has come down to dance-a golden dance. Sharika should have a dejihor (aditya) to wear.
When the boy leaves for the wedding, the same custom is allowed. Then mother, sister(s) and other women sing:

Meaning: Constant dance has bruised my feet. I should get a gift of a dress. A sister has great expectations from a brother, so I should have a new dress.

1.13 Ruf

'Ruf' is a very interesting and emotional type of folk dance. It is called 'Row', in the capital and 'Ruf' in villages. It is directly related with spring. On the basis of the climatic conditions, there are four seasons in Kashmir. Every season lasts for three months. At the outset of spring, Kashmiris entertain themselves by dancing and singing. This practice was prevalent even in the ancient times, which is men­tioned in Nilmatapurana. It has been proved that 'Ruf' has been inspired by the bee and is the imitation of the lovemaking of the black bee. 'Ruf' might have been originated from 'dwarf dance', of vedic language. In Vedic language, it means a bee, which further developed as Ruf. In spring, autumn seasons, the black bee comes near the bud but does not touch it, as it seems too shy It revolves around the bud for a long time, creates a romantic mood by moving back and coming forward again and again. At last, the bud yields and accepts the offer. This movement of the bee might have led to the creation of 'Ruf'.
In 'Ruf' beautiful ladies form two or four groups, consisting of three or four girls. They face each other. Each girl puts her arms on the arms of the other girl. All the girls jointly bring their feet forward and then backward. This is how the dance proceeds. The songs are in question­answer form.
In Kashmir, in far-flung villages, usually two groups are formed. One group questions and the other answers, musically, while dancing 'Ruf'.

Meaning:
Q.: In the garden of flowers, did the black bee arrive?
Ans.: It has come to perform 'Ruf' dance.
Q.: Did the flower open its eyes?
Ans.: It opens its eyes to perform ‘Ruf’ dance.
Q.: Did the flowery branch, full of blossoms, smile?
Ans.: The bee has come to perform 'Ruf' dance.
Q.: Did the flower yawn and stretch its limbs?
Ans.: The bee has come to perform 'Ruf' dance
Q.: Did the bee arrive slowly and consciously?
Ans.: It has come come to perform 'Ruf' dance.

About fifty years ago, there was a custom among Kashmiri Hindus, Manzirath (one day before marriage, when henna was applied on the bride or bridegroom's hands), Lalleshwari's vakhs were sung in question answer form in the 'Ruf'.

Meaning:
Q.: O dear, who does not get tired, even after continuous walking?
Ans.: O friend, water is not tired of continuous flowing.
Q.: O dear, who is not tired, even after continuous scandalizing?
Ans.: O friend, man does not get tired scandalizing.
 
Another example of question answer form used it 'Ruf' is given here. Women show their beauty and youth in colourful dresses and sing:

Meaning:
Q.: What is needed in maidenhood?
Ans.: In maidenhood, youth is to be enjoyed.
Q.: Where is the sweetness of youth to be shown?
Ans.: Sweetness is to be enjoyed with the bee.

Muslims have their separate type of 'Ruf' dance, which they display on their Islamic festivals.

Meaning: My friend, Id has come, Let us go at a slow pace to the Idgah.
The tradition of dancing and singing has been an ancient practice in Kashmir.
Nilamatapurana has mentioned it at several places.

Meaning: This public entertaining festival should be organized with dances, sweet songs and musical instruments.
'Ruf' is a continuation of the tradition, indicated in the above line.

1.14 Hikat

'Hikat' is an inseparable part of 'raas'. We can even call it a form. Reference to 'raas', prevalent in Kashmir, is available in Bhatt Avatar. Even his predecessor, Nund Rishi, was acquainted with 'raas', originated from 'hi-krit', i.e. any piece of work done joyfully.
In this dance, two girls stand in a circle in pairs facing each other with bright sticks in each hand and strike at each other's stick and sing:

Meaning: Let us get together and dance 'raas'.
While striking, the speed of the singing gets faster, after which the girls throw the sticks and one girl holds the right hand of the other girl and the left with the right. The girls then drag the weight of the body towards their backs, touching the fingers of the feet of the girl opposite, with hers. They start moving in a spherical manner to the slow music. Soon, the speed of the movement of the body as well as of the music gets faster. Again, the speed gets slower and the girls lift the sticks and start striking and singing simultaneously.

Meaning: Come friends, we will hold 'raas' dance and play 'lal bandha' game.
There is another form of 'hikat' that is hikachi, which is performed by small girls. 'Ch', in Kashmiri language, denotes feminine gender. Hikachi gavun is a song, which is sung by small girls, while playing the hikat. This game can be played on any occasion, season or festival.
Two girls hold each other's hands in the form of a cross. The game begins with question answers:

Meaning:
Q.: Oldman stand up
Ans.: I will not.
Q.: I will give you gold ring?
Ans.: I will not.
At the end of long dialogues of this type, the girl hold the balance of their bodies backwards, touch each other's feet and sing.
'Hikat' is common among Hindu and Muslim girl. Though 'hikat' songs are not available in large number yet they hold great significance. They do not have an systematic ideas, yet some of them are full of seriousness of the theme.
For example, the following song beautifully presents the future imagination of a girl, in her early teens:

Meaning: These lines reflect the romantic feelings of the girl about the future. She will be in her in-laws, home. Her brother would come to meet her with almonds. They would be eleven in number. Will the almonds be sufficient for distributing, eating by her mother-in-law and herself? Some are also to be stored. Innocent dreams of the girl have been vividly depicted in these lines. The girl does not seem to have shed her childhood innocence.

1.15 Vaan

Vaan is a market or shop in Kashmiri language. Kalhana has used the word 'patvan' in his Raj Tarangini, i.e. market of cloth. In Kashmiri, the actual word for it is 'Vedan', which means crime market. It is popularly known as van in short form. According to Hindu religion, a man goes through sixteen rituals and 'antyeshthi sanskar' is the last among these. In Rig-Veda, ample reference to the expression of grief, made at the time of death, is available. In Indian culture grief songs are in practice even since ancient times. This tradition was prevalent in civilized caste. Unfortunately, it is on the decline. 
In Kashmiri Hindus, whenever an old man or woman died, these types of grief songs were performed, i.e. vaan singing was done. Among Kashmiris, grief remains for ten days. In olden days, an old professional singer, who was called 'vangarinya' in Kashmiri, came on the day of the death, enquired about the names of the ancestors and family members etc. and sang till the tenth day. Her body and throat used to choke with grief. The subject of the songs were in praise of the dead and his future in Heaven.

Meaning: The dead person entered the Heaven him­self. He got his beautiful daughters married, brought talented daughters-in-law home, built nice houses and did studies of Vedas nicely, spent whole life well and did Yoga, meditation.

1.16 Lalnavun

This is a type of folk song, which is sung to make the baby fall asleep. In Hindi, it is called 'Lori', in English it is called 'Lullaby' and in Kashmiri, it is called 'Lalnavur’. 'Lalnavun’ is based on Vatsalaya Ras. It reflects mother love, which is pure. It depicts the unbroken bond between the mother and the child. Usually, Ram, Krishna, Yashodhra and Kaushalaya are the main subjects of Lalnavun.

Meaning: O child, I will swing you in my lap and prepare ear ornaments for you. O my flower of marigold, I will make a garland for you, I will host a party for you and make 'moun' for you.

Meaning: In the above mentioned song, the child is imagined like Krishna and Ram and their mothers are like Yashodhra and Kaushalya. In Lalnavun songs, the mother prays for the long life of the child. These songs depict the mother's fondness and love for the child. The main idea behind these Lalnavun songs is to make the child sleep.
In the book, 'Thirty songs from the Punjab and Kashmir', Ratan Devi Coomaraswamy writes about the cradle songs of the Kashmiri Lullabies. "The cradle songs are perfect in their own way; unlike so many so called lullabies in modern music. They could scarcely be simpler; the beautiful vowel sounds, tune and rhythm combine to form a true croon".

2.0 Songs Sung by Minstrels

These types of songs are those, which are sung by the professionals from the point of view of earring money. In this category fall the songs sung by the Chhakar singers, bhands and ladishah singers and more.

2.1 Bhand Paethar

Singing and dancing by bhands has contributed a lot to the traditional music of Kashmir from the ancient period. Not only in Kashmir, but also in other places, bhand paethar (custom) has remained prevalent from the very ancient period.
In Kashmir, existence of bhands has remained very popular. Nilmatapurana tells us that bhand paethar was very famous in Kashmir and bhands performed during festivals and other occasions. In Nilamatapurana, the word 'mandavanam' is mentioned, which means dance and songs by the bhands.
'Bhand' comes from 'bhaana' a satirical and realistic drama, generally a monologue that is mentioned in Bharata's Natyashastra. The Bhand Paether is not a monologue but a social drama, incorporating mythological legends and contemporary social satire. Born Hindus, the bhands converted to Islam and remain very secular in their outlook.
The Bhand has to train himself, to be a skillful actor, dancer, acrobat and musician. The leader of the troupe is called 'the magun', a word taken from 'mahagun', a man of varied talents. He teaches his pupil the art and expertise of their inheritance. Today, the training is non-existent.
The bhands dance to the tune of a specified 'mukam and the orchestra includes the shahnai, dhol, nagara and the thalij. Before the Swarnai player adopts his newly made instrument, a ritual offering is made in a 'dargah'.
The composition played is called a 'mukam and each bhand paether has its own. The music follows a set pattern-the salaam, thurav, duitch, nav patti and the salgah. There is a highly developed system of music based on the classical mould, the Sufiana Kalaam with intricate and codified patterns.
The man who plays the dhol is the central figure in the orchestra. Many tools, in various combinations, are played on this drum but today very few remain. The nagara is an accompaniment to the dhol and the rhythm doubles in intensity as the playing proceeds. More than one nagara is used in the performance to emphasize the sound of the instrument. The thalij is a metal cymbal, a little larger than those used in other musical forms. To this music, are added Kashmiri folk songs, which are sung throughout the play.
The properties that are a must for every paether are a whip and a short bamboo stick. The 'koodar' or the long whip as crafted from the dry stem of the 'bhang' plant and looks like a thick rope, which is forked at its tip. When used, it emanates a sound similar to gunshot. During the performance, a character can be whipped a hundred times, without being hurt, because this property does not have the impact associated with the whip; it just looks deadly. It is used to transform all the elements that represent oppression into strong dramatic images. In sharp contrast, the 'bans' are used by the jester or 'maskhara'. These are split bamboo sticks that make a sharp sound.
Besides these, 'kaper chadar' or sheet of cloth is also used as a curtain. Some of the actors make their entry from behind this curtain. 
With time, the music has changed and unfortunately, the traditional 'mukam ragas' are not played as much.

Meaning: The king is unmindfully sleeping under the quilt. The villages have been ransacked and the king is sleeping peacefully under the six feet long quilt.
A new direction has been made in the Kashmiri bhand paether and the credit goes to Shri M. L. Kemmu.

2.2 Ladishah

'Ladishah' is originated from ladi and Shah. 'Ladi' means a row or line-'Shah' has been added with the passage of time with the coming of Muslim rulers.
'Ladishah' is a satirical song, which reflects the society's condition. It is a type of song, which makes people laugh, but at the same time, it is a satire on the existing government.
The singers of 'ladishah' remain in groups and carry an instrument with them, which is called 'dhukar' or 'dhukru'. 'Dhukar' is made of iron (1 -1.5 mtrs. long), with metal rings hanging around it. The singers wander from village to village. They generally go to other villages at the time of harvest to earn their livelihood.
They are satirists, who compose their songs on the spot, on the issues pertaining to social, small and big evils. Their manner is very humorous and entertaining, but bitter at the same time.
In the history of Kashmir, there was a king named 'Mukunda'. His ears were very big. Thus, he wore a huge turban to hide them. This secret was only known to his barber. Unfortunately, the barber died. As a result, the king engaged a new one and directed him to hide the secret of his big ears. He never knew that the new barber was a 'ladishah'. The barber disobeyed the king and the se­cret exposed to the public like this:

Meaning: King Mukund's ears are of the size of the ears of a buffalo. Ears are as big as a huge forest.
Similarly, when the aeroplane came to Kashmir, satirical verses were composed.

Meaning: The aeroplane comes to Kashmir for the first time. Anyone who saw it made a hue and cry: Nothing bad was done by Jamal and Kammal who came out to see the aeroplane, because everyone came out from the house to see it. Whoever saw it, made a hue and cry. The plane went circular like an eagle. Whoever saw it, made a hue and cry. Much noise was created by the plane and the ears got hurt by the noise. Whoever saw it, made a hue and cry about it.

2.3 Chhakar

'Chhakar' has an important place in the Kashmiri folk music tradition. It entertains old and young ladies and gents. It may be the originated form Rigvedic 'Shaktri' or anti-shakri rhyme. In Aryan culture, chorus singing after deva-yagya was a common practice. But according Shri Mohan Lal Aima, 'mantrya mand's ghada instrument originated 'chhakri'. Ghada, has an important place in 'chhakri'. Tumbaknari is another compulsory instrument in 'chhakri' . which is a kind of long gourd. It is open from the back. On the front side of the tumbaknari, the skin of a cat is stuck. Usually, ghada is played by men and tumbaknan by women. Sometimes, sarangi and rabab are also the accompaniments. Male dancers perform dance, which is called 'back-kot' (originated from Vedic vatkat.) 'Chhakri' has great relationship with farmers, who at a break from the hard task, sing and dance in the evenings. 'Yagnopavit' and marriage ceremonies are not possible without 'Chhakri'. On an auspicious day, tumbaknaris are purchased and 'Chhakri' singing begins from the house cleaning ceremony.
The credit of making 'Chhakar' famous in Kashmir, goes to the professional artists who, along with their full team, sing and create a musical environment, which is full of fun and entertainment. 'Chhakar' traditionally was confined to villages, though songs, set to 'Chhakri' music, were sung on wedding occasions in the urban areas. The credit of popularizing it goes to Radio Kashmir. We often watch 'Chhakar' programmes on T.V or hear it on All India Radio, in the valley.
Chhakar' gayaki is not new. This type of folk song, has been in practice for a long time. According to Raj Tarangini, king Bhashmakar had made a type of folk song popular in which, utensils of clay or brass were used. Even today, we find gaagar, chimta, matka, ghada, etc. being used as the instruments with 'Chhakar' gayaki.
'Chhakar' is sung collectively in a group. 'Chhakar which is sung by professionals, has only men in it. A very important feature of 'Chhakar' gayaki is that the singers themselves play the instruments. The style of singing such that the first line of the song is sung by the leading singer. The same line is repeated by other members of the group. The speed of the song gets very fast and the work get difficult to understand. When 'Chhakar' is in its full swing, people from around get up and start dancing.
Undoubtedly, it is a very popular and entertaining folk song.

Meaning: O lad, I will sacrifice myself for your child like actions and get lost in your name, Ram.

Meaning: The maiden is separated from her lover and remembers him. "Where are you my lover? Please come to me. I have filled the cups with wine and made rose garlands for you. Come, O my lover or else I will die in a day or two".
 

2.4 Bachhi Nagma

The general meaning of the 'bachhi nagma' is adolescent melodious voice. But in villages, it is still known by the old name 'bachhi gyavun’ . During Pathan reign (1757-1818), the Arabic word 'nagma' must have been added to it. So it is the mixture of 'bachhi' (originating from sanskrit) and 'nagma' (originating from Arabic). The dress of the dancer is round and very loose and long, upto the feet. Upto the waist, it is tight. 'Ghunghroos' are tied to the lower side of the legs. Sometimes they keep long hair. This dress matches the dress of a 'Kathak' dancer. Such dances are very old in India. This has been mentioned in Nilamatapurana.
The Kashmiris have great liking for the dance and music of 'bachha nagma'.
The dancing boys are professional singers. They are booked in advance for marriages, yagnopavit of other functions. The troupe consists of six or seven members­-One, a leading singer and others, the prayers of rabab, sarang, etc. An atmosphere of entertainment is created by singing, the sound of payals, the trembling and wavering movements, the actions of both hands, the tender singing voice, by their holding the corners of long vesture from right and left side and by variety, in expressions. Slow and melodious modulation of music reminds of the rhythm of flowing water-falls.

Meaning: The nightingale and the parrot are in mutual competition. Friend! Listen and see, the parrot surpasses the nightingale in singing.

2.5 Rishi Macchar

'Rishi Macchar' has been originated from the vedic 'Rishi + Mat + har. i.e. insane or intoxicated movements of the Rishis. 'Rishi Macchar' is known as 'Rishi Bechhun' i.e. Rishi's begging. In ancient times, we used to spare some time from meditation once a week and go to other villages to beg for food in the name of God. Whatever they received as alms, was accepted by them.
They were spiritually intoxicated. Ladies of the houses name this known as 'Rishi Macchar'. Kashmir is known as Rishivar, means the abode of Rishis.
Rishi tradition of Kashmir has been mentioned in 203 of Mahabharata. Kashyao was also a Rishi. Even Muslims have respect and faith for them. Rishi Macchai Saints used to move in groups, enter the courtyard of any house and repeat those rhymes, which pertained to the morality of life. Kashmiri Hindu and Muslim women used to put questions about the future of their husbands and family.
Here are a few examples:

Meaning: Rishis are themselves lost in meditation. They pray happiness for all.

Meaning: The saint has come to my country and to receive alms. I will offer myself. You stay over at our place as an honourable guest. I will wash your feet myself.

2.6 Dhamaly

'Dhamaly' means leaping and jumping. 'Dhamaly' or 'Dhamali is a holy sport in Brij in Uttar Pradesh. It is related with an exercise of Saints who jump over burning fire. This word is common in Kashmir. When small children leap and jump, they are directed not to do 'Dhamali', i.e. jumping. This is a dance performed by fifteen to twenty persons. Ladies do not take part in it. The whole team wears white cotton dress and a head gear. Two dholaks are the accompanying instruments. When one gets tired, the other plays. The dance fully depends on the dholak. A little fault spoils the vehicle show. The group stands in a circle. The leader addresses them:

Meaning: O mad (companions), give blessings.
They, then, play dholak and dance in 'raas' form and act as if they pray to some divine power for the blessings and sing together:

Meaning: God may bless us, you and the whole world.
Then one actor comes forward and does 'bhangra' type actions and jumps about two meter high. Others whistle to encourage him. He is called 'Damali Fakir'. He then sings:

Meaning: You must offer something for the sake of Vishnu. Saints have entered your courtyard.
At times the dancers carry about one meter long stick and strike and counter strike. Their dance resembles 'raas'. All the ladies bring their children to get blessings. This dance is held in spring, when rice is sown. Their second visit begins after summer season, then they go to religious places, grave yards, abodes of peers and fakirs and religious fairs to give a display of their skills.

3.0 Songs Sung by Farmers

3.1 Naindai Gyavun

Naindai Gyavun is related to farmers folk songs. Naind is the changed form of the word 'Ninad of Sanskrit'. The word 'gyavun' also has originated from gayan of Sanskrit. India is an agricultural country. The tradition of agricultural songs is prevalent in every state and region. The nature of agricultural songs is joyful exciting and merrymaking. The people in Kashmir are rice eaters. To prepare the paddy fields is not an easy task. It requires hard labour with proper planning. Singing makes difficult tasks of the farmers easy and enhances their zeal. After cultivation, the land becomes uneven and soil lumps are formed. The lumps are broken and the soil is made even. The task of breaking of soil lumps is called 'Yattpur'. After 'Yattpur' farmers sow paddy plants. Sowing of paddy plants is called 'Thal'. When the plants start dancing in the breeze, the farmers come back for cultivation of the soil and weed. Making the fields suitable for agriculture is called 'Naindai'. In harvest season which comes in Kashmir in October and November farmers have to be quick and vigilant in harvesting and carrying grains for storing. They are scared of the uncertainty of rains and snow. They find no breathing time in between, but sometimes give pause to their work. They sit beneath a tree and entertain themselves with singing. It is accom­panied by 'Manjira' etc. Since these songs sung in chorus pertain to farming, they are called 'Naindan Chhakar'. Here are certain examples. 
They give free flow to the rhythmic tones under the open sky:

Meaning: The seeds have sprouted. The plant has gained entity. O my friend you tell how long shall I have to wait for my lover? The top of the plant is giving a jerk to its blooming self. O my friend, how long shall I wait for my lover? I will water this plant with the flow of the tears of my eyes. You tell my how long shall I wait? Lost in the thought, of my lover, I have gone much forward while transplanting in paddy. You tell me how long shall I wait? The fields are slippery with wet soil. I have to press down my foot. How long shall I wait for my lover?
The song shows the throbbing pain of an innocent maiden in separation from her lover. The melodious style of singing makes the pain mild and sober. Her feeling does not disturb her working. In Kashmir, in summer, it is the maidens who go for hoeing and weeding the land for wheat, kidney beans, etc. The weeding instruments, like the khurpi or tongrues are used on low and high land. The work inspires them to sing full throatedly.

Meaning: Get, up, O friend, we will go to the Kidney bean fields for weaning Unwanted plants. May be my darling will be reminded that I am waiting. Get up O friend, we will go to paddy fields for weaning unwanted plants. 
The plugging is done at three stages: Firstly, on dry land, then on wet land and then at the time of weeding. When farmers' maiden or newly married daughter-in-law does the job for the first time, her parents, brothers, sisters, uncles and aunts come to help her and all sing in one tone:

Meaning: The daughter-in-law is addressed. "Your brother is coming along the parapet to help you. Hurry up in transplantation". Her answer is O my brother and I will offer myself a sacrifice for the length of your 'dussa' (a big giant shawl of 5 mtr. Pashmina).
The impact of the forced conversation of Hindus to Islam can be traced from the following two songs sung by Muslims and Hindus. 
Muslims sing:

Meaning: I have sown the paddy plants. You be merry and go to the graveyard of Nabi Sahab to promise there to offer something after the fulfillment of my desire.
Hindus sing:

Meaning: I have sown the paddy plants. You be merry and go to Bhairav temple to promise there to offer something after the fulfillment of my desire. 
The occasion of merry making and melodious singing comes when autumn, i.e. season of harvesting begins. Again the girls begin their work of reaping and singing in their melodious voice. We remember the words of words worth in 'The Solitary Reaper' "reaping and singing by herself" in Kashmir, the songs have a tinge of romance.

Meaning: Constant reaping has made my hands tired. Still the field is looking bigger and bigger. Go and tell my lover, harvesting has bruised my hands and still the field looks bigger and bigger. In the heat of autumn season, drops of sweat are coming down from my forehead. The field yet looks bigger, i.e. no end to work is visible. Go and tell my lover.
 

4.0 Religious Songs

4.1 Leela

Leela songs are the songs dedicated to God. Prayer songs in Kashmiri were written in Sanskrit in the past which were dedicated to Shiva Shakti, Vishnu and to Baudh Dharam. Kashmir has been the place of Rishis whose every action was consecrated to spiritual powers. We can hear Hindus in temples reciting the couplets from panchastavi (prayer book in Sanskrit) even today. 
Reference to the devotional songs in Kashmiri has been made by Ksemendra whose period has been calculated between tenth and twelfth centuries:

Meaning: That old 'Guru' selected a devotional poetry book form his native language from his personal library.
The word in the above line proves the fact that there were more such poems available at that time. But they were destroyed later by the cruel attacks from outside. Sultan Sikandar was the worst of all. He burnt ancient valuable books on religion, philosophy etc. In the words of Dr. Usha Bagati
The Book 'Mahanay Prakash' written in Kashmiri by Shrikanth is deemed to have belonged to eighth or ninth century.

Meaning: After the blessings of Guru, meeting with God becomes easy and there is no importance of the ritual of Chaturdashi prayer.
Certain devotional verses of Kashmiri language belonging from tenth to thirteenth century are available. They throw light on 'Pandit Kalaam .

Meaning: To attain oneness with God is possible only by enjoying devotional songs with concentration and by unearthly religious practices.
Next follows the period of Lal Dyad (14th century) popularly known as Lalleshwari whose Vakhs have depth of mysticism.

Meaning: What should we offer you in worship? You are the sky, you are the earth, you are the air, the day and night, you are the sacrificial grain the sandal paste, you are the flowers, the water and all that exists.

Meaning: The idol is but stone. So is the temple from top to bottom, it is one mass. Whom will you worship. O imprudent Brahmin? Try to join your prana with the mind.
Another poet who created history by his contribution to the devotional music of Kashmir is Nund Rishi.

Meaning : Old apparel of mine has received a stain. Sentient being has left the garden. Resultantly the warmth of the sunlight of summer season has changed to winter cold weather. I am deprived of the advantages of summer. It is a mystic statement, meaning thereby that the sins I commit have changed the advantages which would have been in my share to disadvantages which are due to a sinner.
At another place, he confesses that he has led a materialistic life to the ignorance of the fact that the world was false and artificial.

Meaning: After Nund Rishi, comes the name of Habba Khatoon, whose singing talent raised her to the height of a queen. Her lines are famous.

Meaning : Some lady has lured you and you have developed hate for me.
Another famous female singer has been Arnimal in 18th century. This intellectual singer assembled all the old tunes and preserved them in her sentiments. These songs are the precious treasure of traditional songs for Kashmiris.

Meaning: The sizzling beautiful colour, which nature has in 'Savan’ (July) has changed to winter. When will he come to bless me with his presence?
There is hardly any Kashmiri, whose eyes are not filled with tears on listening to the pathetic and melodious renderings of Arnimal.
In Ram Leela and Krishan Leela, Kashmiri poets have contributed abundantly to the religious poetry in Kashmiri Language. Prakash Ramayan, Shankar Ramayan, Anand Ramayan, Vishnu Pratap Ramayan, Amar Ramayan have a distinguished place in Leela tradition. Among Krishna devotees, the poet Parmanand is well known. He went to the village, contacted old women to learn the tradition which they were preserving by singing. He revived the ancient culture and the devotional fervor, which Martand temple once had and which was destroyed by the cruelty of foreign invaders. Parmananda realized that old women had given patronage to it in their homes in villages. He made the most of it.
He revived it with musical tunes and paved the way for the future Leela singers like Laxmanjoo, Bulbul and Krishanjoo Razdan. He depicted different stages in the life of Lord Krishna, like his childhood and youthful actions with Gopis (married women who flirted with Lord Krishna).

Meaning : O! Source of joy for Devki and the son of Yashoda, I will bow before you and make flower garden for you (The devotee has mentioned his own name 'Parmananda').
After Parmananda, the notable name is that of Krishna Das, who was a composer and a singer of Leelas. Following devotional lines are on everybody's lips:

Meaning : I have come to worship before your lotus like feet.
The tradition of Kirtan (singing devotional songs in chorus) in temples by males, females as well as children. is old in Kashmir. Songs devoted to Ram and Krishan are sung regularly. Anand Ji's poetry pertaining to Ram's childhood is well known:

Meaning : O Ram, I will sacrifice my self for your childhood actions.
Kashmir is known for Shaivism, Amarnath, Harmukh Ganga, Mahadeva are ancient pilgrimages, where devotees go to pay homage. The following lines are devoted to Shiva:

Meaning: O Shiva, pay visit to me with slow steps with our lotus like feet. I will sacrifice body, mind and all. The dry pond of my love will be filled again, if you come.
The tradition of Leela singing will remain intact. Though Kashmiris have been displaced, their listening to Leela Cassettes and assembling at respective regions and singing Leelas in unison on festivals like Navreh and Sonth(spring festival of Kashmiris).