“Ami chini go chini” was written by Rabindranath Tagore on October 11, 1895, at Shilaidaha when he was 34 years old. The Rabindrasangeet was published in Poems (Songs) in October 1896. Ami chini go chini belongs to the category of Prem (Love) and falls under the sub-category of Prem boichitro (Love – Miscellaneous). Ami chini go chini is composed in Ektaal rhythm. Ektaal is an Indian classical taal or rhythmic pattern with twelve beats distributed evenly over four divisions.
The Rabindrasangeet is set on the cadence of raga Khamaj. A raga is identical to the Western classical modes. Modes in music are scale-like patterns that can begin on any note of the scale, not just the root note. Each mode like each raag has a distinct characteristic. Raag Khamaj is a widely popular raga in light Indian classical music. It is the setting for several Ghazals and Thumris. Raag Khamaj has also been used in a number of Hindi film compositions. The notation for this Rabindrasangeet can be found in Geetimala, Shatagan, and Shefali. Specifically, it is documented in Volume 50, Swarabitan. The notation to the Rabindrasangeet was given by Dinendranath Tagore.
The Rabindrasangeet starts with the poet acknowledging that he knows a female foreigner. The repetition of the acknowledgement not only emphasizes the certainty of the acknowledgment but also doubles the effect of the soothing musical cadence. The poet knows that she stays on the other shore of the ocean and that he has seen her in the autumn. He has felt her presence on a delightful spring night. He has found her in his heart.
Tagore, the bard by putting his ear to the sky heard her music. He did not hesitate to offer his life to Bideshini, the female foreigner. The poet has roamed all through the world and has come at last to a new yet strange country. He considers himself a guest at her door. In the last line of every stanza, there is a repetition of ‘O thou Bideshini’ to denote how dear the female foreigner is to the poet.
This female foreigner, according to the poet in his Jibansmriti, is a figment of his imagination, which has a definite universal connotation. This female foreigner manifesting in autumn has a divine significance. The divine feminine in the West is called by various names in India, such as, Shakti, Mahkaali, Tara, Durga among others. Bengalis worship Goddess Durga in the autumn. According to Indian mythology, Durga is also the daughter of ocean.
Durga, the divine feminine, according to Vyasa, in his Devi Bhagvatam has her abode in Manidweepa. Manidweepa is at the apex of all areas and looks like an umbrella. Its shadow descends on the universe, annihilating the world’s miseries and afflictions. An ocean of nectar surrounds Manidweepa, which is several miles broad and deep. Seeing such a female on another shore beyond the ocean for the bard is not a mere consequence.
In autumn, every drum and string instrument is played for the divine feminine, not only in Bengal but all over the world. The poet has heard those tunes and surrendered himself in the process. In Geetanjali, Tagore through all the song offerings, finds out at last doors of the God’s abode after roaming the whole world. The last line reminisces the same idea that after all, all the music of melancholy and bliss, times of thick and thin, he has reached knocking the doors of divine.
Celebrating Tagore and Rabindrasangeet
There is no dearth of research on Rabindranath Tagore, the first non-European to win a Nobel Prize for literature and the author of India’s National Anthem. Not only are there over 2,000 publications to his name, he was, besides being a literary genius who took India to the world, also an artist, composer, singer and humanist.
Yet how many people know of this versatile genius beyond the borders of Bengal? In an effort to bring home such a treasure trove to the non-Bengali population and Bengalis around the globe, Brainware University, Kolkata, Bengal’s largest private university, has taken up an initiative to popularize Tagore’s songs through a unique project.
Spearheading this initiative is the founder-chancellor of the university, Mr Phalguni Mookhopadayay, who helms this audio-visual venture in anecdotal voiceovers and rich renditions of each intricate Rabindrasangeet.
Tagore once said: “The world speaks to me in colours, my soul answers in music.” His lyrical compositions, that he set to tune himself, bear out his belief that “music fills the infinite between two souls.” Tagore’s lyricism rises above mere prose and adds a new dimension, a depth of emotion that makes them relevant even today. The entire collection of Rabindrasangeet was combined in Gitabitan – a music book comprising all 2,232 songs.
Brainware University aptly chose to launch the initiative on May 9 this year, Tagore’s 162 nd birth anniversary, with a solemn and profound programme in its auditorium. Subsequently, the launch on social media has been hailed in various degrees of applause and appreciation, the first episode notching up nearly 20,000 views, and counting.
Mookhopadhayay, each of whose renditions is eliciting effusive praise, is absolutely untrained in the nuances of vocal music. He says: “Our goal during the next 100 weeks is to take Tagore’s songs to at least 1,00,000 non-Bengali and Bengali households outside India. With each song you will find its translation in English and some useful information. My request to viewers is to please subscribe to my YouTube channel (https://youtube.com/@pmbrainware), like and share the episodes. Do share the link with friends abroad. Help us to promote Tagore’s musical genius to the world.” He is, indeed, carrying this onerous task on his able shoulders, eking out time from a relentlessly hectic schedule as a hands-on chancellor of the university.
The more interesting aspect, not known to many, is that this initiative is totally home-grown, recorded and produced in Brainware University’s own state-of- the-art studios. Just three episodes old, the project is already receiving a very positive feedback from around the globe, with viewers impatiently awaiting the next video. The unceasing accolades across all social media platforms bear testimony to that.
In all his compositions, Tagore’s intent was not to create new ragas but to melodies that did justice to the expressiveness of his poetry. Tagore was also influenced by the genre of Bengali folk music and composed many songs where their impact is evident.
Tagore’s compositions also played a major role in India’s freedom movement. While he voiced disillusionment over the degeneration of nationalism, two songs composed by him, Jana Gana Mana and Amar Sonar Bangla, are immortalised as the national anthems of India and Bangladesh.
Legend has it that after listening to a Tagore song, Ustad Allauddin Khan was inspired to compose his favourite Raga Hemant. Tagore’s music has also had a profound impact on Indian cinema. Many of his songs have been adapted for films, and their emotional depth and lyrical beauty have contributed to the popularity of Indian film music.
Today, Tagore’s music continues to resonate with people from all walks of life. His songs are performed at cultural events, religious ceremonies, and social gatherings, reflecting their enduring popularity. His music remains a testament to the power of art to unite people, transcend the boundaries of language and culture, and connect us to the divine.
