The Four Vanis of Dhrupad¶
The four vanis (also spelled banis) are the four stylistic streams of Dhrupad singing, established by the late 16th century and prominent at the court of Mughal Emperor Akbar. Tradition traces their origin back to the five gitis (Shuddha, Bhinna, Gauri, Vegswara, and Sadharani) described in ancient texts.
Each vani represents a distinct approach to the presentation of Dhrupad, differing in voice culture, emphasis on alap versus composition, and ornamental style.
Dagarvani (Dagar Bani)¶
Dagarvani puts the greatest emphasis on alap — the slow, meditative exploration of raga. It is known for preserving the purity and devotional aspect of the raga above all else.
Characteristics:
- Deep and meditative alaps with great attention to microtonal inflection
- Compositions begin with a relatively long and cyclic alap using syllables ti, ta, ri, ra, na, na, and nom
- Voice culture is especially delicate, with fluidity and a feeling of expansiveness
- Each tone is divided into several microtones (ananta shruti), creating extraordinary tonal subtlety
- For several generations, Dagarvani singers have performed in pairs, often pairs of brothers
The Dagar family has been the primary custodian of this vani for over 20 generations.
Khandar Vani¶
Khandar Vani is named after Mishri Singh (also known as Sammukhan Singh), Tansen's son-in-law, who came from the town of Khandar.
Characteristics:
- Famous for its voice culture — broad and high-pitched tones with forceful expression
- Employed a pattern of vigorous gamakas, while also capable of producing soft and delicate notes
- Was prominent in the Jor and Alap of the Rudra Veena
- Compositions were set mostly in Madhya and Dhrut laya (medium and fast tempos)
- Described as austere and introspective with elaborate improvisations
Nauhar Vani¶
Nauhar Vani was founded by Rajput Shri Chand, who belonged to the town of Nauhar.
Characteristics:
- Famous for its sweet and delicate expression, characterized by simplicity and charm
- Attention was focused on bol-bant — the rhythmic division of the composition text
- Characterized by quick, lively passages employing a variety of gamakas
- A balance between melodic beauty and rhythmic play
Gauhar Vani¶
Gauhar Vani (also called Gauri Vani) is named after Tansen, who came from Gwalior. It is associated with the Gwalior gharana.
Characteristics:
- Described as Shuddha Bani — that is, chaste and pure
- Characterized by smooth glides (meend), almost linear in character
- The gait was slow and contemplative, spreading a feeling of repose and peace
- Emphasis on clarity of notes, precise intonation, and intricate ornamentation
- Compositions often explored devotional and philosophical themes, with lyrics inspired by ancient texts and poetry
A Note on the Vanis¶
It is worth noting that historians have found it difficult to establish the precise historical origins of the four vanis as clearly distinct categories, due to a lack of documentation. What is clear is that these four stylistic streams were recognized as distinct approaches by the time of Akbar's court, and they continue to serve as a valuable framework for understanding the rich diversity within Dhrupad.
In practice, the boundaries between the vanis have always been fluid. Many great Dhrupad musicians have drawn from multiple vanis in their art, and the living tradition continues to evolve while honouring these foundational styles.