From the rhythmic tales of Luv and Kush to the supernatural power of “naam” as envisioned by Goswami Tulsidas, Ayodhya has emerged not only as a city of temples but as a metropolis where every stone, every echo, and heartbeat carries the beat of an musical symphony.
Ayodhya has a special connection with music, and here are few reasons why it deserves to be recognized as the city of India’s and the world’s finest offerings in music –
Valmiki’s Ramayan is centered on “Raghuvanshvibhushan Ram”. This epic is described as a store of aesthetic elements, including gunn (qualities), alankar (ornamentation), and dhwani (sound or resonance). The Bal Kaand which is a section within Ramayan, specifically brings attention to the melodious and sweet qualities present in the act of reading and reciting this ancient text. It suggests that the narrative not only holds profound meaning but is also adorned with musical and aesthetic richness that creates a harmonious and captivating experience for its audience. Along with this, Maharishi Valmiki placed great attention to details while incorporating various rasas into the Ramayan, and ensured that it shows adaptability for retelling and singing across diverse ages.
According to the Bal Kaand, incorporating the veena into the narrative enriches and glorifies the musical essence of Ramayan. Additionally, the description of Ayodhya made by Raja Dashrath emphasized that the sounds of instruments such as veena, dundubhi, mridang, and panav contribute to defining the city’s auditory identity. The implication is that these melodic elements play a crucial role in characterising Ayodhya and add to its cultural and musical significance. Tulsidas highlighted the extraordinary power inherent in the mere utterance of the divine name, and considered it to be a force that surpass the divine persona of Ram.
Luv, and Kush, the offspring of Shree Ram are considered as carriers of Gandharva Vidya (Sangeet Shastra). It is said that they possess profound knowledge in the field of music, including practical concepts such as “sthhan” (placement) and “moorchhana” (tonal modulation). In essence, Luv and Kush are portrayed as highly skilled musicians with a deep understanding of both theoretical as well as practical aspects of music.
The gifts presented to Luv and Kush after their performance consists of auspicious items, including a Kalash (auspicious pot), ‘valkal vastras’ (ritualistic clothing), ‘yagyopaveet’ (sacred thread which is worn during rituals), and many more. The gesture of providing these items showcase the appreciation of rishi-munis, who recognize the significance of the musical performance of the Ramayan by Luv and Kush.
Ram Mandir in Ayodhya is considered to be the dwelling place of Ram’s divine form (balroop). Any musical offerings to Ramlalla’s balroop are most authentic when presented by the children of Bharat, who embody purity, melodious voices, and heartfelt devotion.
Ayodhya is portrayed as the origin of devotional music, where children immerse themselves in Vedic rituals, mantras, and musical teachings at gurukuls. It symbolises the significance of children playing with musical notes (swaras) as they are offerings not only to Ram but also to Raja Dashrath and Kaushalya. This collective voice of children in devotional music is envisioned to attract more youngsters to the Ram Mandir, which can foster an environment of devotion, pilgrimage, and adherence to Sanatan traditions. Ultimately, it envisions that children who are enriched by musical experiences, will become guardians and preservers of the cultural heritage.
Maharishi Valmiki’s verses portray a myriad of connections that should be artistically expressed in Ayodhya through varied traditional music forms. The focus of which should be celebrating the emotional depth, love, and bonds embedded in the narrative.
Ayodhya’s rich musical heritage is now beyond musical notes. It covers a range of expressions which focus on the stories and relationshios connected to the essence of Ram.
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