The Abhang or Abhanga-1
Abhangs are a popular form of devotional poetry in the Indian language Marathi, and are frequently set to music. While they are often sung by bhajan singers, they are also sung by classical singers both from the North and the South and it is not uncommon to hear an abhang in a classical concert.
Abhang:
literally,
1. Absolute; eternal, immutable, ceaseless, unbroken;
impeccable, etc
2. Immortal, primordial; another name for Brahman; inviolable, etc
3. a Marathi metre; also, any metrical compostion in this metre
The abhang is the favourite metre of all Varkari poets since the thirteenth century and unlike classical Sanskrit-based metres it is native to Marathi speech and its colloquial forms. It is extremely flexible. It consists of four lines and each line contains three to eight syllables. It has a fluid symmetry maintained by internal or end rhymes and often designed to be sung. It originates most probably in oral folk poetry. Poets such as Jnanadev, Namdeo and Tukaram have given it a classic status in Marathi poetry.
Varkari (वारकरी)
is one who makes a “vari,” (edited to add: it sounds more like “wari”) which in Marathi means, “round trip” or “pilgrimage” or “regular visit to a place and return from it”; a Varkari is vowed and committed to undertake, twice every year, a pilgrimage to Pandharpur to attend the Ashadhi and the Kartiki festivals of Vitthal.
The above was excerpted from my mother’s yellowing copy of the late great Dilip Chitre’s Says Tuka. This book is out of print, but if one is interested in Abhangs, it’s a must read.
Mahdeobuwa Shahabajkar talks a little about the Varkari Sampradaya in the video below:
This video features Mahadeobuwa Shahabajkar and ensemble singing religious music of the Varkari Sampradaya, an important sect of the Bhakti movement from Maharashtra. Followers of the Varkari sect sing abhangs and other song forms attributed to saint-poets like Dnyaneshwar, Namdeo, Eknath, Tukaram. Because of its obvious influence from Hindustani classical music, the most appropriate label for this kind of presentation would be “sangit bhajan”, which is what the singers calls it in the interview. Use of the term “sangit bhajan” (rather than simply “bhajan”) indicates that he emphasizes musicality in addition to the text being sung…from the notes on youtube by Underscore Records-
link
A brief glimpse of a Pandharpur Waari (pilgrimage):
SOME USEFUL LINKS:
aathavanitli-gani
Abhang Amrit
Abhang Sankirtan
Abhangs: Vakari Sampradaya
Sant Tukaram Ke Barah Abhang (HINDI)
Ramadaskrut abhang.
Alanati Classics – Bhaktha Tukaram
Tukaram
Tukaram
Marathi Poets: Kanhopatra, Arun Kolatkar, Arun Krushnaji Kamble, Dilip Chitre, Dnyaneshwar, Tukaram, Vilas Sarang, Savitribai Phule
Bahina Bai and Her Abhangas
Thanks for the meaning of Abhanga. I didn’t know it meant unbroken, immortal also. Just today had been listening to a lot of Abhangas sung by Bhimsen Joshi. There is is this Abhanga by the saint Gora, which I love: Tujhe rup chitti raho, mukhi tujhi naama. Even though I don’t understand all the words, it feels like the most soul stirring plea to God.
it’s hard even for Maharashtrians to follow all the words…
As a Tiny Tot I used to accompany the set from my hometown for about 3 kilometres and return. Magical days without a care in the world.As they proceeded to Pandharpur.The farthest I had gone as a kid .
The mood would be magical .
Back at the Vittal Mandirs , in the late night bhajan sessions , I would keep time with those heavy conical bells . Keeping an eye on the lead singer who would have the Mridangam strapped in front .It was so easy to get trampled . So ecstatic he would be.
Much later I attended Bhimsen Joshi’s program called Santhvani . Huge elaborate stage- Vasanthi Mhapsekar on the Leg Harmonium – a Sathyanarayana Pooja to start with – and three hours of such music. I still remember my Re 10 Ticket. Bought 2 months in advance .Must have rolled my eyes over it longingly at least 50 times , leading up to the Concert
wow. am envious.