Few Thoughts on Kaida 2

Chilla Khalwat

In continuation of write up on Kaida, I would like to delve into Chilla & practice aspects more.
Chilla-nashini (Persian: چله نشینی) is a spiritual practice of penance and solitude, known mostly in Indian and Persian traditions. In this ritual a mendicant or ascetic attempts to remain seated in a circle without food, water, or sleep for 40 days and nights. The word 'chilla' is adopted from the Persian word 'chehel', meaning 'forty'. The nashini is the person who does the 40-day fast and remains seated in the circle of seclusion. It is believed that those who try it but do not succeed usually die or suffer madness.
Chilla-nashini is a severe penance. A circle is drawn on the ground by the penitent's own hand; for forty days and nights he must not step out of the circle, he must forgo food, water and sleep. He must face whatever comes. Chilla-nashini is known to both Sufi and Vedantic ascetics.
It is also called Khalwat in Arabic. 'Khalwat' , which lasts 40 days, is publicly called 'chilla' , meaning ' severe trial '. The word 'chilla' is adopted from the Persian word 'chihli' , meaning ' forty '. The term is also used to refer to endure troubles . 'The Khalwat Khana' is called ' The Chilla Khana' , as well.

' Khalwat ' as a theosophical term, can be defined as, 'to speak to God secretly'. In Sufi terminology ' khalwat ' means, by the Shaykh's order and approval Mureed's secluding himself in a dark and small room to spend his time in worship, consideration, supervision 'muraqbah', dhikr and reflection 'tafakkur'. A forty day khalwat is also called ' arbain ', which means a period of forty days.
Shaykh –Ustad  
Mureed – Student
Muraqbah – Supervision     
Dhikr  - Worship, invocation of God                                                                                                             Tafakkur – It means to think on a subject deeply, systematically, and in great detail.


(Above information is taken from net & as quoted it as I wanted to trace the roots of tradition. The links are as below. 

http://en.wikipedia.org/wiki/Chilla-nashini
http://www.halveti.org/Tasavvuf.asp?cid=6&sid=21)

One can see why so much of importance is attached to observing Chilla by old masters of Tabla after going through the significance of Chilla/Khalwat. In Tabla Chilla is observed of Kaida. There are certain rules if one wants to observe Chilla. Though the process I have been taught is not mystical, it is certainly very difficult to say the least. Following are the basic rules one needs to observe.

A.   Basic tenet is to follow 40 days of uninterrupted practice.

B.   Second rule is to observe timing. It is obvious that it is not possible physically/mentally to practice for more than few hours a day. One needs to have pre-defined hours for observing Chilla. The best time is pre-dawn. Amir Hussain Khansaheb used to say that in pre-dawn session the angels are moving on earth & they bless the people who are busy in the ‘Sadhana’. Apart from his own experience, I suppose his belief must have been cemented from seeing his forefathers observing Chilla at pre-dawn & being benefitted immensely. In a way we students of this century are at great loss as we do not have an opportunity to see “Riyaaz” of masters with our own eyes. So it is kind of easy not to really believe in stories of hard “Riyaaz” of Ahmedjaan Thirakwasaheb, Amir Hussain Khansaheb & others. It is equally true that maybe it was easier to do “Riyaaz” in those days of very less distractions. Life was not so complicated; it was OK if one did not have formal education. I intend to discuss this subject at length in another blog.   

C.   “Chilla” is traditionally observed for certain Kaida. Meaning it won’t be counted as “Chilla” is one just practices just anything one fancies for say 2 hours at pre-decided time for continuously forty days. Another important condition is that same Kaida has to be practiced over & over for forty days. This is most tiresome part I suppose.

D.   The way to practice Kaida is to play Kaida Mukh at very low speed for say 10 -15 minutes. This needs to be followed by Dohra. The sequence of Mukh/Dohra is repeated quite a few times at very slow speed. One needs to double the speed after some time. It is very critical that all, repeat all the Bols are sounding as clear in they were in “Ekgun”. One needs to again revert to “Ekgun” & repeat the whole exercise. It is very difficult to discipline mind to play “Ekgun” when one can play “Dogun” reasonably well. In one of the few rare recordings of “Habibuddin Khansaheb” available, one can hear him remark that “Riyaaz” is most difficult thing to do. Minimum period is time required is till the muscles start aching. I feel real “Riyaaz” starts when your muscles start aching. Another benefit of observing Chilla that I missed in earlier post was, once a Chilla has been observed for certain Kaida, it is ok to concentrate on other things, as even after a gap of two – three months one can play that Kaida with same Dumsaans & Taiyyari. This becomes particularly important if one knows say 50 odd Kaidas. It would be impossible to keep practicing every Kaida every day.  Eventually the only favourite Kaidas will be practiced, played & passed on to further generation leading to loss of knowledge. This is particularly important considering that knowledge was passed on in Maukhik (Oral) tradition. I would like to come to this topic some other day if it is interesting enough to others & my enthusiasm about this whole exercise does not wane.

E.   Another dictate is “Riyaaz Hameshaa Langotband hona chahiye” I suppose apart from the spiritual aspect of actual “Chilla” which has percolated into “Chilla” for Tabla, practical reason would be a person’s mind would get easily diverted if he is not celibate & in contact with normal world.

Now let us look into why only Kaida is suitable for observing “Chilla”, though it should be pretty obvious by now. The Kaida by itself is rule or set of Rules & is governed by certain rules. So it does not help by practising Rela or any other type of composition as it does not make your fingering better or finer, but will only help to play at higher speed. ‘Akshar sadhana’ can only be done while practising Kaida. Moreover my observation is practice of other compositions (Gats/Chalan etc.) tend to entertain as they have been composed from that point of view only. But if we closely look at Kaida, it is always composed to facilitate “Riyaaz” of certain Bol or phrase.

I suppose it would not be out of place if we discuss few aspects of Riyaaz (practice).

By correct Riyaaz I mean following:

1.    Paying attention every second to correctness of fingers, position of fingers. It is seen that many Tabla players including leading names change the position of fingers while playing Bols like Tita & Tirakit away from centre of Syahi at Dogun/Dugun. This makes it easy to play the Bol faster, but not correct from theoretical point of view but tonal quality point of view also. Tabla being instrument of single “Sur”, the language is/has been developed so as to make it interesting & varied & hence the various positions of fingers, so if once changes the position even a little the texture of the sound changes a lot.   

2.    It is also important that one should pay attention to the Tonal quality, though by paying attention to correct fingering & position it does improve a lot. One needs to pay attention to Tonal quality as it is very rare to see a gifted (Kudrati) player, who has good balance, good sound from Syahi, as well as Chaati & good control over Bayan with Meend, Ghumak etc. The tonal quality as achieved by the masters like Amir Hussain Khansaheb, Thirakwa sahib, Habibuddin Khansaheb et al is ideal, even after 50 -60 years, their recording on spools/mono tape recorders etc. sound so beautiful even after digitization. One could only imagine what an experience it would be to listen to them in person.  

3.    One needs to pay attention whether he is playing from his “Dumsaans” or shoulders or his fingers.

4.    Physical strain/stress should not be visible on face while playing at higher speed. This was aspect which was stressed upon by most of the old masters.

5.    Once certain tonal quality is achieved, one can aspire for greater speed.

6.    There is another aspect which is likely to be missed is that ‘Tabla’ is supposed to be played by only finger tips(first digit), nothing more nothing less. The tonal quality deteriorates considerably if the second digit also comes in contact with Pudi.   

In this section I have attached a snippet of Kaida played by Amir Hussain Khansaheb in his first record way back in 1935 (Mediafire share key: http://www.mediafire.com/?c9idd8ecolyhi ).