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REFLECTION PAPER 3












ELIZABETH R. KEATING

ETHNO 541 D TERM LUO

APRIL 27, 2014



















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Summary
In Richard Wolfs collection of case studies, Theorizing the Local, Shubha
Chaudhuri wrote about The Princess of the Musicians: Rani Bhatiyani and the
Manganiars of Western Rajasthan. Chaudhuri wrote about the relationship between
musicians of a certain caste, called Manganiars, and the special relationship they have
with local shrines. The study begins with an account of a Rajput princess, Svarup or Rani
Bhatiyani.
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The myth that surrounds this princess is ever evolving. It seems the most
popular at present is that she had an adulterous relationship with her brother-in-law who
later died in battle. When she discovered his death she committed sati, a culturally
acceptable suicide of a widow over the funeral pyre of her husband.
2
As the myth goes
her spirit met with a musician along the road, there she gave all her jewels to this
musician. She told him to not speak of the gift but he disobeyed and the jewels were
taken from him. Although he was disobedient, her spirit still allowed him and his family
to sing about her for their livelihood.
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Many shrines have been built in this satis
honor, and she is now worshipped like many other Hindu gods. The irony is that these
Manganiars are Muslim and do not think of their adoration for this women as worship of
a Hindu god but as respect for the daughter of their patron.
4
It does seem more like
worship than respect from a western perspective. The worship of this deity is not limited
to these musicians. The worship of Svarup is characterized by spirit possession of the

1
Shubha Chaudhuri. The Princess of the Musicians: Rani Bhatiyani and the Manganiars of
Western Rajasthan. Theorizing the Local: Music Practice and Experience in South Asia and Beyond.
(New York: Oxford Press, 2009) 98.

2
Ibid., 273.

3
Ibid., 98.

4
Ibid., 107.


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devotees, specifically a bhopa/bhopi who plays the role of priest in these shrines.
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The
relationship between the Manganiars and their Rajput patrons seem stronger than ever as
the devotion for Rani Bhatiyani continues to grow throughout the area of Rajasthan.
Critical Analysis
The relationship of patron and musician is a foreign concept; although it has not
always been foreign in western culture it is not often seen today. Chaudhuri did explain
exceptionally well the connection between the musician and patron. There are many
dependent castes in India. The name of this caste, Manganiars, comes from a word
meaning to beg.
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I thought that the connection was specifically interesting as these
musicians are Muslims that serve the Rajputs, a Hindu class
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. The author discusses the
defining characteristics of this relationship, which was extremely helpful in grasping
connection between these two castes. I thought it was interesting and important to
understand that the dependent class provides certain musical services but that they are
also present at certain life events of their patrons and the Rajputs in turn contribute to the
Manganiars funerals or weddings.
8
The real point of interest in this case study is the
connection between the musician and the Rajput princess, Rani Bhatiyani.
Chaudhuri discusses the relationship between Rani Bhatiyani and the musician
class, Manganiars. She relates how certain melodic or rhythmic motions of an olakh, a

5
Shubha Chaudhuri. The Princess of the Musicians: Rani Bhatiyani and the Manganiars of
Western Rajasthan. 99.

6
Ibid., 97.

7
Ibid.

8
Ibid.



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type of song, can be the trigger for possession.
9
These musicians get their livelihood
from her devotees, perceivably from the goddess as the myth goes. Chaudhuri discusses
in a small way the connection between the music and the believed possession of
devotees, mostly a bhopa, a priest-like figure. It would have been interesting for the
author to include some of the examples of what the bhopis are believed to be capable of
during possession. Chaudhuri said that all the Manganiars that (she) interviewed related
instances of cures they had experienced by praying to her (the goddess) many have
stories of this goddess bringing some kind of blessing or healing to their people
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. I
would have liked to read some of these accounts. Do musicians and devotees worship
because of the good that has been demonstrated in the past or with fear that this devi will
demonstrate malevolent powers if she is not appeased?
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There seems to be some
confusion as to what the motivation behind the music is. The connection between these
musicians and what they perceive to be a god, or at least a powerful entity, is real but it is
unclear as to why such deep devotion exists. It could be the fact that this devotion is
deeply rooted in the culture or perhaps it is purely economical, or maybe it is due to
miraculous signs performed by a supernatural force, or is it out of fear that a supernatural
power will harm them if they dont perform. My speculation is that it is a mixture of
some or all of those factors. It would have been beneficial for the author to clarify some
of those issues during the case study.

9
Shubha Chaudhuri. The Princess of the Musicians: Rani Bhatiyani and the Manganiars of
Western Rajasthan. 99.

10
Ibid., 107.

11
Ibid., 99.


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Generally this piece was extremely informative. I enjoyed reading and learning
about the relationship between musician and the Rajput class, and more specifically with
their relationship to Rani Bhatiyani.
Action/Conclusion
Thee following are are a few things that I learned from the study. First, it
was valuable to learn about the Manganiar caste and the relationship they have with the
shrines in Rajasthan and to its goddess. I think its important to understand these
connections because it helps people realize that there is often a deeper meaning as to why
we adhere to certain practices. Here in the west musicians do not play for a shrine
because some ancestor met a spirit along the road but we do play with past traditions in
mind and many times under the influence of our family culture.
Secondly, it is important to evaluate the motivation behind service. As a
Christian woman I serve in many places, the local church, individuals, at work or school
but the expectation from this practice is that every action is done as worship to God. Not
necessarily to get something in return but to worship because He is worthy. This is in
stark contrast with the Manganiars. The Manganiars play, at best, because they have an
expectation of blessing from the god they are serving. This expectation is not always
met. It is important to think about the differences there and what they mean in our own
lives.
I close with a few comments and questions. The Manganiar caste would be
interesting to learn more about, specifically because of their Muslim heritage. I would
like to learn more about how the Rajput caste came into power and why they are
considered the ruling caste. How much syncretic doctrine came about, if any, because of


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their connection with the Manganiar? Overall I have enjoyed reading and learning about
this culture and the music practices belonging to it.












































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BIBLIOGRAPHY

Chaudhuri, Shubha. The Princess of the Musicians: Rani Bhatiyani and the Manganiars
of Western Rajasthan. Theorizing the Local: Music Practice and Experience in
South Asia and Beyond. New York: Oxford Press, 2009. 97-111.