Thursday, 29 January 2026

NADIYA DHEERE BAHO – FROM RIGVEDA TO FOLK CULTURE, CONCERTS, AND BOLLYWOOD

 

NADIYA DHEERE BAHO FROM RIGVEDA TO FOLK CULTURE, CONCERTS, AND BOLLYWOOD

Shrikant G. Talageri 

 

As I am preparing my three articles on music (to be uploaded on 5 April 2026 in memory of my parents on the day on which my father would have completed 100 years), I noticed once more this theme reverberating through Indian poetry and music from the Rigveda to the present day.


In the Rigveda, in hymn III.33, the Bharata king Sudās, after conducting a massive horse-releasing ceremony (not yet fully the famed aśvamedha of the New Rigveda and the Epics) in modern-day Haryana at the hands of his (first) priest Viśvāmitra, has just started out on his expansive and imperialistic journey of conquest westwards into the Punjab, land of the Anus (linguistic ancestors of the Iranians, Greeks, Armenians and Albanians).

The first obstacle he faces is the riverine obstacle of the easternmost two tributaries of the (yet unreached and far-off) Sindhu / Indus river, which are flowing in full spate: the Śutudrī (present-day Sutlej) and the Vipāś (the Hyphasis/Hypasis/Hybasis of the later classical Greek texts, the present-day Beas).

Viśvāmitra addresses this famous hymn (III.33) to the two rivers, asking them to flow gently or cease flowing altogether, in order to allow Sudās and his army of Bharata soldiers to pass over from east to west in safety.

Verses 9 and 11 of the hymn (III.33.9,11), addressed to the two rivers, as translated by Jamison:

Listen well to the bard, sisters. He has driven to you from afar with his wagon and chariot. Bow down, become easy to cross, staying below his axle(s) with your currents, you rivers.

When the Bharatas should really have crossed you entirely – the horde seeking cattle, propelled, sped by Indra – then certainly your forward thrust, launched in a surge, will rush (again). I wish for the favor of you who deserve the sacrifice”.

Griffith’s translation:

List quickly, Sisters, to the bard who cometh to you from far away with car and wagon. Bow lowly down; be easy to be traversed stay, Rivers, with your floods below our axles.

Soon as the Bharatas have fared across thee, the warrior band, urged on and sped by Indra, Then let your streams flow on in rapid motion. I crave your favour who deserve our worship.

  

This theme, asking the river waters to slow down or cease flowing in force so as to enable someone to cross over in safety, is one which has reverberated down the centuries right from the very first book in the world, the Rigveda, as a consistent theme in poetry and music.

Here is the popular theme expressed in our semi-classical musical forms like the thumri:

Dagar Brothers (two versions):

https://www.youtube.com/watch?v=vctZ7VOkKME

https://www.youtube.com/watch?v=6-buDsyjV-g

Prabha Atre:

https://www.youtube.com/watch?v=SCWMfeqyxqM

Girija Devi

https://www.youtube.com/watch?v=Ejx7J-cilos

Padmavati Shaligram:

https://www.youtube.com/watch?v=bV9kQrYNQn8

Shruti Sadolikar:

https://www.youtube.com/watch?v=TRqfm50Dzts

Iqbal Bano:

https://www.youtube.com/watch?v=EgjPrzkiCF8

Faraz Nizami:

https://www.youtube.com/watch?v=UdskwouIhwU

Manali Bose:

https://www.youtube.com/watch?v=L9O0nUccpC4

Sangborti Das:

https://www.youtube.com/watch?v=KBi0BV7-avY

 

Here are a few examples of bhajan/folk versions (arbitrarily chosen from youtube):

https://www.youtube.com/watch?v=gbRFuANBA3A

https://www.youtube.com/watch?v=jSFB3AJJZBU

https://www.youtube.com/watch?v=DhC8flf5j_0

 

The theme has been popular in our film industry from very early times, starting with Ashok Kumar’s famous film Acchut Kanya:

https://www.youtube.com/watch?v=08IcQgSUxnY

And of course the most famous version of the song by Lata Mangeshkar in the film Udan Khatola: both in the original Hindi and in its Tamil version:

https://www.youtube.com/watch?v=8JNlj1qkRf8

https://www.youtube.com/watch?v=JFHMUuw0NRw

A theme stretching from the Rigveda to present-day folk/religious/classical/film music, and from the North to the South! There may be such songs in regional languages as well, unknown to me.

 

POSTSCRIPT:

Of course, crossing a river in full spate is not an obstacle to someone aided by the Gods or driven by strong and overpowering passion.

Vasudeva, the father of Krishna, crosses a flooded river (which parts and creates a path for him), the Yamuna in full spate to, take the baby Krishna to safety. Even the Bibilical Jehovah parts the waters of the Nile to enable the Jews to escape from the wrath of the Pharaoh.

The famed story of Bilwamangal, maddened with passion, crossing through a river in full spate (no divine intervention here) to reach his beloved is well known. Hindi films have many songs where equally passionate lovers cross flooded rivers to reach their beloved. A few examples:

https://www.youtube.com/watch?v=To5cvtn0JZE

https://www.youtube.com/watch?v=UQIO-SNvEe4


 


Saturday, 24 January 2026

A Comical Book on “Presence of Ancient Tamil Words In Other Indian Languages”

 

A Comical Book on “Presence of Ancient Tamil Words In Other Indian Languages”

Shrikant G Talageri 

 

Someone gave me a book “Presence of Ancient Tamil Words In Other Indian Languages” by a writer named R Madhivanan, pubished by Central Institute of Classical Tamil, Chennai, 2023, which he had apparently picked up on a recent visit to Chennai.

About the writer of the book (priced at Rs. 300), the back cover gives the following information:

Dr. R. Madhivanan specializes in Tamil etymological studies and formerly served as the Chief Editor of the Tamil Etymological Dictionary project initiated by the Government of Tamil nadu. He has authored four books on the decipherment of the Indus script., with his latest work titled “Indus Script among Dravidian Speakers published in 1995.

Madhivanan’s approach to deciphering the Indus script is based on several fundfamental principles. He posits that the Indus civilization originated in Kumari Kandam, an ancient Tamil land, and that the people inhabiting the Indus Valley were Tamils. He also asserts that the language of the Indus civilization was Tamil. Madhivanan suggests that the Indus script is syllabic and written from left to right, similar to the Tamil script. He applies the grammatical rules of Tolkāpiyam to the Indus language”.

 

I gave a quick glance through the book as soon as I took it, and even that cursory glance showed me that the writer was very evidently a super-hyper-P.N.Oak, whose etymological claims would completely put in the shade the original P.N.Oak, and would replace the name of P.N.Oak with his own name as the King of Comical Etymologies. P.N.Oak, of course, did not have behind him the power of government Ministries and agencies to give an official stamp to his comical claims, but this writer, as we can see from the above description of his position and career, very clearly does.

Although I immediately realized what the intellectual level of the book was likely to be, I was still in the hope that I would perhaps get (hidden within the piles of rubbish) at least a few inadvertent clues to some genuine Dravidian borrowings into Vedic, Classical Sanskrit and modern Indo-Aryan languages which would be useful in any historical study of inter-language influences in India. Alas! The book is indeed pure rubbish, and I realized that going through the entire over-170-pages of lists of alleged “ancient Tamil” borrowings into other Indian languages would be a totally fruitless task absolutely not worth the trouble.


Nevertheless, a short picture of what the book has to say will be interesting and useful.

The book gives lists of allegedly “ancient Tamil” words in various “other Indian” languages as follows:

Hindi (pp.1-5)

Sindhi (pp. 6-10)

Marathi (pp. 11-13)

Gujarati (pp. 14-17)

Punjabi (pp. 18-22)

Santali (pp. 23-29)

Malayalam (pp. 30-33)

Kannada (pp. 34-37)

Telugu (pp. 38-41)

Tulu (pp. 42-43)

South Dravidian - Non Litrary (sic) Tribal Languages (pp. 44-59)

Central Dravidian - Non Litrary (sic) Tribal Languages (pp. 60-99)  

North Dravidian - Non Litrary (sic) Tribal Languages (pp. 100-110)

Dogri (pp. 111-115)

Bengali (pp. 116-118)

Odia (pp. 119-121)

Sanskrit (pp. 122-128)

Prakrit (pp. 129-134)

Pali (pp. 135- 139)

Kashmiri (pp. 140-154)

Assamese (pp. 156-158)

Angami Naga (pp. 159-162)

There follow a few pages of mixed multi-lingual lists (pp. 164-174) followed by alleged non-lexical (i.e. phonological, grammatical, etc.) borrowings from Tamil (pp. 174-180).

That someone can sit down and write so many pages of utter piffle and publish them as books, and occupy important positions in academic bodies, is testimony to the low level of academic research and study in such fields in India, especially when they have the backing of half-baked political ideologies and parties.


To go to the actual content of his “ancient Tamil words”:

1. He devotes 81 pages (pp. 30-110) to giving lists of words in other Dravidian languages, and instead of recognizing that such words must be native words in those languages (since they are also Dravidian languages sharing the same common proto-Dravidian ancestry with Tamil, so that these words are cognate words and not borrowed words) he treats them as borrowings from Tamil.

[Incidentally, it is even possible, since I did not look too deeply into these lists (in these other Dravidian languages), that the lists may also include not just Dravidian words native to these languages but also all kinds of Sanskrit words borrowed into these Dravidian languages].

2. He also devotes 55 pages (pp. 6-10, 14-29, 111-121, 140-162) to words in other Indian languages (Indo-Aryan as well as Santali and Angami Naga) that I do not know and cannot comment specifically on.

Likewise, another 11 pages deal with Prakrits (129-139), and while it is perfectly possible that Prakrits (like various modern Indo-Aryan languages) must have borrowed from Dravidian languages (as distinct from “Tamil” as a specific source), I cannot sift through the chaff: again, because I do not know the Prakrits concerned or sources to check the claims.

3. That leaves 8 pages of Hindi and Marathi words, and 7 pages of Sanskrit words that I could have gone into if this book had represented a serious intellectual, academic and scientific study into the subject.

There are indeed very many words in Marathi (being a border-language with the Dravidian languages) that are borrowed from neighboring Kannada: off-hand, and without going into detailed studies at the moment, one word that immediately comes to my mind is the word huḍuk (“search out”). Strangely, this word is missing in the 3-page list.

But (along with some possible genuine borrowings) the list includes a whole lot of purely Indo-Aryan words with cognates in Sanskrit and other Indo-European languages as well. To take a few of the most blatant examples:

a) tēthē/tithēthere” (Sanskrit tatra, English there/thither, Greek tê), weirdly spelt as de:te, is claimed to be borrowed from Tamil avviḍam!

b) śāḷāschool/room” (Sanskrit śālā , Latin cella, Greek kella/kalia, English hall, etc.), spelt as sa:la, is claimed to be borrowed from Tamil ca:lai (actually borrowed by Tamil from Sanskrit)!

c) gharhouse” (Sanskrit gṛha, Avestan gərədō, Russian gorod, Lithuanian gardas, etc.), spelt as gar, is claimed to be derived from Tamil nagar!

d) śētfield, cultivable land” (Sanskrit kṣetra, Hindi khēt, Old Iranian forms kšaθra, shōithra) spelt as ce:t, is claimed to be derived from Tamil cey! 

Likewise (spelt ja:) “go”, (spelt e:) “come”, dalit (translated as “worker”), magar (spelt mahara) “crocodile”, darwāzā (spelt darwa:ja) “door”, jahāz (spelt jaha:j) “ship”, and many other clearly Indo-Aryan (one or two even in Persian-Urdu forms) words are given as borrowings from extremely unlikely Tamil words.

To illustrate the utter incongruity, extreme unlikeliness and inanity of the connections sought to be drawn, Marathi hāk mārcall out” (in which the word hāk means “call”, and mārbeat” makes it a compound verb “call out”) is wrongly reduced to ma:r translated as “to call”, and this is claimed to be borrowed from Tamil viḷito call” (through a mysterious intermediate form mili – mi:r)!!

Likewise, it is perfectly possible that there are countless words in later Sanskrit and also in modern North Indian Indo-Aryan languages borrowed (either via Sanskrit or through some other via media) from Dravidian languages. There are many studies on this subject, and I have referred to many of these words in my articles, including certain Dravidian words borrowed even into the New Rigveda (brought by rishis originating in the Dravidian south who became part of the New Rigvedic/Late Harappan culture of the northwest by migration).

But any hopes, that this book will prove useful in searching out, or preparing lists of, these words, get destroyed by a glance at the very first page (page one) of the book which starts to list the “Tamil” words borrowed into Hindi. This list freely includes Hindi words of pure Sanskrit or other Indo-Aryan (and even Persian-Urdu) origin as borrowings into Hindi from extremely unlikely Tamil words and forms.

Some gems from page one (I will not bother to proceed further beyond page one): akēlā (spelt ake:la:)  acchā (spelt achcha)  adhik (spelt adik), āgē (spelt a:ge), idhar (spelt idar), āj (spelt a:j), lēkin (spelt le:kin), udhar (spelt udar), ūpar (spelt u:par), rūpa (spelt ru:pa), (spelt le:), mat (spelt math).

I cannot go on!

Sorry, P.N.Oak, you are no more the King of Comical Etymologies. Already you were facing very stiff competition from western academicians (like Witzel to name just one) who were churning out lists of Dravidian and Austric origin words in the Rigveda. Who knows, you may already have lost the title to some of them already. But now you have been beaten hollow by this book.      

 

 

                 


Friday, 23 January 2026

The Mewa Parable in Political Matters: “Who Deserves To Eat the Mewa?”

 


The Mewa Parable in Political Matters: “Who Deserves To Eat the Mewa?”

Shrikant G. Talageri 

 

On 15 January 2026, the Municipal Corporation elections took place in 29 cities in Maharashtra, including Mumbai. As the results poured in, as was expected, the BJP alliance swept the polls capturing an overwhelming majority of the corporations, including the BMC (Brihanmumbai Metropolitan Corporation) the richest corporation in the whole of Asia.

I had written about these elections a few days earlier. In that article, “The Morals/Ethics of Voting (Or Not Voting) In Elections”, I had written: “So NOTA is really a purely symbolic feature. Whether I will participate in this symbolism or whether I will simply sit at home and refuse to participate in it is the only question before me, which I will decide as per my mood or whim on election day”. In other words, I was going to either not vote at all, or vote NOTA.

However, three days before the election (after seeing the UBT-MNS rally in Shivaji Park) I changed my mind or mood or whim. I had written earlier on in that very article: “So to my mind the only question (for the coming election) is whether I should simply not step out of the house to cast my vote, or whether I should go and cast my vote for NOTA (although on at least two occasions in the past I have been forced by my conscience to follow the allegedly Muslim tactic of voting for “anyone but the BJP” since I strongly believe that in many ways the BJP is much more dangerous for Hindus, Hinduism and India culture than even the Breaking India Forces).” And ultimately I did follow the allegedly Muslim tactic this time as well: I decided to go and vote for the UBT-MNS candidate standing from my constituency, since I do regard the BJP as being in exactly the same category (in the realm of electoral politics) of being worse than any of the others “somewhat like the “minor” who raped “Nirbhaya” in the famous Delhi gangrape case who inserted a rod into her and pulled out her intestines”. As it turns out, and as I knew would happen, the BJP won here.

In earlier times throughout my life, I used to be hyper-excited over election results, pleased to ecstatic when they fulfilled my wishes, and displeased to miserable when they were opposite to my wishes. But nowadays, although I do want, and wish for, certain results, I find myself personally very little affected by the results, and in fact, knowing beforehand what the results are likely to be, very little surprised by them. The first point is of course that I have learnt to distinguish very clearly between what I want and what I get. I have realized that one need not get what one wants, and need not want what one is likely (or sure) to get. The two are distinct things, neither one of them dependent on the other. I have since long realized that victory in any battle is never correlated to what I want, or to what (in my opinion, if you will have it that way) is right or correct.

What is the one factor which leads to victory in any large scale political battle (which does not necessarily require violence and brute force), whether an electoral one or a civilizational one? One can always want one side to win, and one can very strongly and sincerely believe (rightly or wrongly) that one side is in the right and the other is in the wrong, but one must always recognize the truth that wanting one side to win, or feeling, or even knowing, that one side is in the right (with the other definitely being in the wrong), are not necessarily the factors which lead to victory.

Then (leaving aside questions of right and wrong, as well as questions of what one wants and does not want) who usually wins, and does that winning side (regardless of our wishes and the rightness of the matter) deserve to win? I have realized in the last few years that I have to look at it in the form of a parable, or whatever one may like to call it, treating “victory” as being represented (to choose arbitrarily from various items) by “mewa” (dried fruits and nuts or rich sweets, considered in folk jargon to be a desirable symbol of wealth, luxury and power): “who deserves to eat the mewa?”.

The parable (made up by myself) is as follows: There is a woman who has two sons. One of them (call him A) loves to eat mewa, while the other (call him B) hates to eat mewa. But whenever she gets mewa from anywhere, the mother (for some reason) always refuses to give any mewa to A, and instead compels B to eat all the mewa. Is her attitude right? Who should get, or who deserves to get, the mewa leaving aside questions of which of the two boys is right/good and which of them is wrong/bad, as well as questions of what she wants and does not want? Clearly her attitude is wrong, and I realized quite some time ago that I was behaving exactly like that mother.

This parable, applied to battles where one side wins and one side loses (if getting to eat the mewa is to be construed as victory in a battle), applies in two cases at least in my perception and my case: the civilizational battle between Hinduism and the Breaking India Forces (and particularly the strongest of the BIFs: Islam), and the electoral battle between the BJP and the non-BJP parties.

In the first case, I want Hinduism to win, and I know fully well that Hinduism is in the right. Likewise, I want the BJP to lose, and I know fully well that the BJP is more absolutely in the wrong than any other party. Yet in both cases, it is the other (than what I want) side which always wins. Islam generally wins against Hinduism and will definitely triumph in the long run, and the BJP generally wins against other parties and will definitely triumph in the long run.

 

The wrong thing in the picture is not who wins, it is my wanting (like the mother in the parable) the other side to win. Because it is Islam which deserves to win the civilizational battle, and it will ultimately win that battle; and it is the BJP which deserves to win the electoral battle, and it will ultimately win that battle.

When I want a certain side to win, and I also know that that side is in the right (or at least that the other side is more in the wrong), why do I say that the other side (which I don’t want to win, and which I also feel is in the wrong and should not win) deserves to win? Because I have realized that the side which deserves to win is not the side which I want to win, or which is in the right, it is the side which wants to win. Just as in the parable, the boy who wants the mewa deserves to be given the mewa and not the boy who does not want it (regardless of what the mother wants and which of the two boys is a “better” person), likewise, in all such battles the side which wants victory deserves to win whether it is desired/right or not.

It does not mean I will side with Islam or with the BJP: I will not. It simply means that I will recognize the fact that Islam/Muslims want to win and Hinduism/Hindus don’t, and that the BJP wants to win and the non-BJP parties don’t.

I have already elaborated on these matters many times in countless articles, without reaching this absolute conclusion. Here I will only give the basic points in short:

 

The most salient points in the case of Hinduism/Hindus vs. Islam/Muslims:

Islam teaches Muslims to strive for victory at every point and to be ruthless and uncompromising in reaching the goal of domination.

And Islamic Muslims want Islam and Islamism to rule over the world and win against everyone else. While the overwhelming majority of non-Islamic Muslims (i.e. non-traditionalistic, non-fundamentalist, modern or even atheistic Muslims) may not exactly believe in or support Islamist views or want to live in a state governed by Islamic laws, but they want Muslims as a people to dominate over others (i.e. non-Muslims) and are fully with the Islamic Muslims in attacking non-Muslims or claiming that non-Muslim entities (Hindus and Jews in particular) oppress Muslims.

On the other hand, Hinduism (at least in its stories and moral preachings, though not in its wisdom teachings or in the message of the Bhagawadgita) teaches Hindus to bow down and capitulate before its sworn enemies and to consider the interests of these enemies before their own interests, to value “saintliness” and “self-sacrifice” even against hostile forces, and to treat victory as ephemeral and non-essential. I have written many articles on this subject and need not mention them again here.

And Hindus want certain parties, institutions, organizations and individuals to win, or achieve victory, or rule. Even among Hindus spouting “Hindutva” slogans, Hindus really don’t care for victory for Hindus/Hinduism: their only concern (overt or covert) is to see their pet political personalities and parties eating the loaves and fishes of power.

 

The most salient points in the case of BJP vs. non-BJP:

The BJP wants to win power, and will do simply anything to win power. I have written so many articles on this that I will not bother to repeat the details here. Neither Hindus or Hinduism in general, nor its own BJP voters in particular, nor its BJP cadres and loyal workers in most particular, matter in the least little bit to the persons who control the levers of power within the party. Like a power-winning steam-roller, the BJP machine moves ruthlessly ahead. throwing all these entities to the dogs whenever required or considered desirable, and even handing power to the others in each of the above categories (i.e. non-Hindus and the Breaking India Forces in general, and the leaders and cadres of other non-BJP parties) when those others join hands with the persons who control the levers of power within the party.

And BJP voters include a large number of voters who admit openly, or show by their words, that they have no interest in or concern for Hindu-related issues and only support the BJP for caste/economic reasons or because it is the winning/ruling/dominant party in India today. And those who claim to be BJP voters because the BJP is a Hindu party will continue voting for the BJP even when the BJP indulges in the most blatantly anti-Hindu activities which would have put the non-BJP parties and even the Breaking India Forces to shame: these voters will continue to insist the BJP is a Hindu party, and that non-BJP parties are anti-Hindu, and will ignore, whitewash, defend, support or even glorify everyt anti-Hindu act of the BJP.

 

[A personal anecdote: when I nominally “joined” the RSS in 1978, a staunch swayamsewak staying just opposite our society told me: “I cannot believe that someone from your Saraswat colony has joined the RSS! All the people in your colony are staunch Congress-supporters!” And it was true: at that time, I supported the Jana-Sangh and the whole rest of my residential colony supported the Congress (except for a few who supported the Communists).

Today the whole rest of my residential colony supports the BJP and I alone am staunchly against it. Ostensible, all of us have changed our stand!

But actually, not one of us has changed our stand. We all follow the same ideal or principle we followed in 1978: I still continue to oppose the most anti-Hindu party (it was the Congress in 1978, it is the BJP today). And the rest of my colony still continue to support the winning/ruling/dominant party in India (it was the Congress in 1978, it is the BJP today).

And the support for the BJP today is not based on any principle. A few days after the recent BMC election results, I passed some residents of my colony sitting in the premises. One lady brightly spoke to me about the BJP’s victory, and when I told her I had voted against the BJP, she gasped and said: “But I thought you were a supporter of Hindutva”. Although I knew it was futile, I pointed out in a few words why the BJP was the most anti-Hindu party today. When she looked at me blankly, I told her: “All of you did not vote for any Hindu interests. You voted for the BJP. And you would have voted for the BJP even if Asaduddin Owaisi were the BJP candidate”. She readily accepted it, and said they would vote for anyone who stood from the BJP. I likewise would have voted for Asaduddin Owaisi if he had been the main non-BJP candidate against the BJP, because, of the two, I know the BJP to be more dangerous for Hindus and Hinduism.]

 

So yes, India will definitely be a Muslim country in 50 years time with a large Christian minority and a smaller Hindu minority. And it will still be ruled by the “BJP”. Because Muslims want, and therefore deserve, to win; and because the BJP wants, and therefore deserves, to win.

All this will not affect or change my actions. But it will guide my expectations and reactions.


APPENDIX ADDED 28 January 2026 11.15 PM:

Great news for my reputation as a modern-day Nostradamus!

I had called Ritu Rathaur the “Last Hindu Standing”. Someone just sent me the following tweet uploaded by her today:

https://x.com/RituRathaur/status/2016480248276357347

Vishguru wanted to protect his dear Pasmanda. The easiest way to do that? Include OBC in the new #UGCRegulations. So he did. Now just pause and think: In Modi’s New India Pasmanda OBC students are branded as “historically oppressed”, while General Caste Hindu students, whose ancestors fought for this nation and for Dharma, are painted as “historical oppressors”. Let this sink in.. Support #Feb1BharatBand

5:25 PM · Jan 28, 2026.



Let me repeat my prediction:

India will definitely be a Muslim country in 50 years time with a large Christian minority and a smaller Hindu minority. And it will still be ruled by the “BJP”. Because Muslims want, and therefore deserve, to win; and because the BJP wants, and therefore deserves, to win.




Falsetto Singing as the Modern Norm/“Normal” in Indian Female Singing

 

Falsetto Singing as the Modern Norm/“Normal” in Indian Female Singing

Shrikant G Talageri 

 

What is falsetto and what do I mean by falsetto singing here?

According to Google, “Falsetto is a high vocal register, Italian for "false," produced by vibrating the ligamentous edges of the vocal cords, creating a breathy, flute-like sound above the normal (modal) voice, often used by males to reach high notes beyond their chest voice, contrasting with the fuller head voice where cords vibrate more fully. It's a stylistic choice in many music genres, used by artists like PrinceSmokey Robinson, and The Weeknd, differing from the stronger, fuller head voice through vocal cord closure and dynamics.

So there are very clearly circumstances, and certain points in any singing performance, where the voice can very legitimately slide into a falsetto mode. In harmonic western music, where voices are classified as per pitch (mainly, from low to high, bass, baritone and tenor for male voices, and alto, mezzo-soprano and soprano for female voices) and coordinated in choral and opera music, it is a perfectly legitimate technique in singing in its appropriate places.

 

However in Indian singing, especially in female voices in the singing of light music, it has become almost the compulsory norm today to sing in a falsetto pitch on a regular basis. Listen to any singing performance of light music on TV channels, in orchestras and public functions, or even in private singing in homes and private gatherings, it will be seen that the female singers automatically and compulsorily adopt a style of falsetto singing. There will be exceptions to this rule, but I think rarely full exceptions. To the extent that listeners also tend to have started appreciating female falsetto singing as normal and even as desirable and admirable.

I remember an incident around ten years ago (around 2015-16) when I was working in the Inward Clearing Department of Central Bank of India. Someone had put, on their mobile, one of the popular religious chants (I don’t remember whether the Gayatri Mantra or something from the Bhagawadgita, or some stotra in Sanskrit) in a high falsetto female voice. I was gritting my teeth in irritation and wondering how people could so regularly sing and listen to this kind of irritating falsetto singing, when the lady sitting beside me sighed in ecstasy and exclaimed: “how some people have this God’s gift of singing, no?”. I was speechless.

How did this falsetto singing become so dominatingly prevalent in female light music singing in India (to the extent that it is slowly seeping into folk music and classical music as well)?

 

Lata Mangeshkar and Asha Bhosle are two of the brightest shining lights of Indian music. I personally would go so far as to say (even at the risk of sounding extremist) that in my opinion if there is one person without whom it is impossible to think of Indian music in the twentieth century (or indeed of the twentieth century itself), it is Lata Mangeshkar. The following facebook post that came up in google is quite apt:

https://www.facebook.com/TimelessIndianMelodies/posts/two-sisters-two-voices-two-moods-of-the-same-musical-universelata-mangeshkar-was/1247902907374038/

"Timeless Indian Melodies

23 October 2025 ·

Two sisters. Two voices. Two moods of the same musical universe.

Lata Mangeshkar was silence made divine - the voice that floated like a prayer at dawn, untouched by time, untainted by artifice. She sang with the restraint of a saint and the soul of a poet. Every note of hers carried that soft melancholy of morning light - gentle, sacred, and eternal. She didn’t just sing songs; she sanctified them.

Asha Bhosle, on the other hand, was midnight dressed in sequins - playful, unpredictable, and deliciously daring. Where Lata soothed, Asha seduced. Where one prayed, the other partied. Her voice could wink, flirt, tease, and then turn around and break your heart without warning. She was jazz to Lata’s raga, champagne to her chandan.

Together, they defined Indian music’s split personality - the divine and the decadent, the temple bell and the nightclub saxophone. Two legends born of the same womb, ruling two different worlds - yet both untouchably royal.

The truth is, there was never any rivalry - only revelation. Lata gave India its soul. Asha gave it its swagger. And between them, they composed the soundtrack of every emotion this country has ever felt”.

[Though actually, if you listen to Asha Bhosle’s old non-film bhakti-songs in Marathi like “dhaga dhaga akhand vinu ya”, “Raghupati Raghav gajari gajari”, “Dnyandev baal mazha”, “Hari uccharani”, “uthi Govinda uthi Gopala”, “Pandharinatha zhadakari ata”, and so many others, her voice (apart from the rich sort of voice that she had in all old Marathi songs) seems at least equally deserving of the description: “the voice that floated like a prayer at dawn, untouched by time, untainted by artifice. She sang with the restraint of a saint and the soul of a poet. Every note of hers carried that soft melancholy of morning light - gentle, sacred, and eternal. She didn’t just sing songs; she sanctified them”].

 

But the sad factual truth is that it is they who practically introduced falsetto singing as a norm/normal for female voices in Indian light music. The result is that today, while most male singers in light music generally still sing in more-or-less natural voices (perhaps resorting to falsetto only as a technique whenever it becomes necessary as should be the case), it has become almost compulsory, in “popular” light music, for female singers to sing in falsettos (to the extent that some of them finally end up even speaking in a falsetto voice). That it has become the norm/normal is in my eyes a very sad thing for Indian music.

I will not give specific names of singers who sing totally in falsetto voices today, and there are indeed some exceptions to this rule: i.e. female singers who sing light music in normal or near-normal voices and only resort to a kind of falsetto voice in situations where it is or becomes necessary. These few exceptions (I will not name them either) are able, like Lata Mangeshkar and Asha Bhosle in their heyday, to achieve a smooth and healthy balance between normal voices and falsettos. But the point is that they are the exception rather than the rule.

What is unfortunate is that male singing in normal voices but female singing in falsetto seems to have become an unspoken rule in light music (and rapidly spreading into folk music and semi-classical music as well). What is infinitely worse is when this becomes more than an unspoken rule, and becomes an actually spoken rule or advice. I still remember seeing a singing competition program on some Marathi channel many years ago, when one of the competitors sang a light music song extremely beautifully and in her natural voice. To my amazement, disbelief and indignation, the eminent judge (an eminent classical singer herself, but also a singer of light music − and I will name her in this instance, with due apologies to her as a great singer: it was Vidushi Devaki Pandit) actually upbraided her instead of praising her, and advised her that while singing in a normal voice was perfectly right when it comes to Classical music, light music should always be sung in a chor awaz (falsetto)!

Perhaps this (i.e. music) not being my direct field, since I am not myself a singer or an instrument player, some people would feel I am speaking in matters which are not my concern and not my business. But I am definitely a passionate lover of music, and this matter has been a thorn in the flesh for me since so many years that I could not resist the temptation to write an article on this.       


Thursday, 22 January 2026

The Absurdities of Vedveer Arya’s Chronological Theories

 

The Absurdities of Vedveer Arya’s Chronological Theories

Shrikant G. Talageri 

 

Someone has just sent me a tweet by Vedveer Arya apparently uploaded less than an hour ago:

https://x.com/VedveerArya3/status/2014349521124499940

Why It Is Absurd to Relatively Date the Mandalas of the Rigveda  ……………………………………………….

According to Shrikant Talageri, the 6th Mandala is the oldest. The hymns of the 6th Mandala were composed by eight Rishis belonging to the Bharadvāja gotra, with Bharadvāja Bārhaspatya (son of Bṛhaspati) authoring 59 of its 75 sūktas.

In this mandala, Bharadvāja refers to King Nami Sāpya (6.20.6). The Pañcaviṃśa Brāhmaṇa states that Nami Sāpya was the first to perform the Sarasvatīya Sattra and that he travelled from Plakṣa Prāsravaṇa (the source of the Sarasvatī) to Vinaśana (the place where the river disappeared). This clearly indicates that the Sarasvatī had already been lost in the desert at Vinaśana well before the time of Videha King Nami Sāpya.

Consequently, Bharadvāja Bārhaspatya must be counted among the latest Rishis of the Rigvedic period. If the 6th Mandala is treated as the oldest, a serious chronological contradiction arises: how could Rishi Gṛtsamada (of the 2nd Mandala) and other Rishis describe the Sarasvatī as the mighty, flowing “nadītamā” river and refer to the Sadānīra — features that belong to an earlier phase when the Sarasvatī was still a perennial river? This makes any relative dating of the mandalas chronologically untenable.

It is fundamentally mistaken to assign relative dates to entire mandalas of the Rigveda. The true authors of the mantras are the individual Rishis who composed the sūktas. Chronology must therefore be established by dating these Rishis through careful relative analysis of their references and historical indicators, rather than by mechanically dating whole mandalas.

The entire framework of relatively dating the mandalas is a speculative construct introduced by colonial Indologists, which many later Indian scholars have adopted without critical examination.

8:18 PM ·Jan 22, 2026

 

I find it strange that a person living in a glass house should dare to throw stones at a stone house. Vedveer Arya’s absurd datings have been noted by me in an earlier article:



This man, whose datings are so absolutely absurd that they will never be taken seriously by any genuine scholar, has a very large fan following, as will any man who writes nonsense, because nonsensical claims seem to attract certain types of minds.


But even within his own range of absurd dates, how does he fit in his mad ramblings in the above tweet?

1. In this tweet he tells us that “In this mandala, Bharadvāja refers to King Nami Sāpya (6.20.6). The Pañcaviṃśa Brāhmaṇa states that Nami Sāpya was the first to perform the Sarasvatīya Sattra and that he travelled from Plakṣa Prāsravaṇa (the source of the Sarasvatī) to Vinaśana (the place where the river disappeared). This clearly indicates that the Sarasvatī had already been lost in the desert at Vinaśana well before the time of Videha King Nami Sāpya”. But in his above table, he dates the entire Rigveda from 11500-10500 BCE.

Does he mean that “the Sarasvatī had already been lost in the desert at Vinaśanaat some point of time between 11500-10500 BCE?

2. He takes a statement in a later text like the Pañcaviṃśa Brāhmaṇa to date a Rigvedic king. But in his above dates for the different texts, he does not give us his dates for the Pañcaviṃśa Brāhmaṇa. If we assume that it is the same as his date for the Śatapatha Brāhmaṇa (i.e. 8800 BCE), isn’t it strange that he takes the data from a text that he dates at 8800 BCE to decide the date of a king named in the Rigveda that he dates from 11500-10500 BCE?

3. And then he completely ignores the data given in the Rigveda itself and arrives (on the basis of his data from the Pañcaviṃśa Brāhmaṇa) at a conclusion completely contradicting the evidence of the Rigveda.

Thus he concludes that Book 6 and its rishiBharadvāja Bārhaspatya must be counted among the latest Rishis of the Rigvedic period” since “the Sarasvatī had already been lost in the desert” at the time of composition of Book 6, while Book 2 is a very much earlier book because “Rishi Gṛtsamada (of the 2nd Mandala) and other Rishis describe the Sarasvatī as the mighty, flowing “nadītamā” river and refer to the Sadānīra — features that belong to an earlier phase when the Sarasvatī was still a perennial river”.

This man thereby wants us to believe, purely on his say-so:

a) That within the Rigvedic period (which he dates 11500-10500 BCE), we have both the phases of the Sarasvati river, the “earlier phase when the Sarasvatī was still a perennial river” as well as the later phase whenthe Sarasvatī had already been lost in the desert at Vinaśana”!

b) That the Rigvedic data, which tells us before every hymn of Book 2 that “Rishi Gṛtsamada (of the 2nd Mandala)” was originally a descendant of Bharadvāja’s descendant Śunahotra Bhāradvāja, and was later adopted into the family of Śunaka Bhārgava, is wrong and that Gṛtsamada is actually an ancestor of Bharadvāja!

And he talks about “serious chronological contradictions”!

Incidentally, was he hallucinating when he saw the Rigveda "refer to the Sadānīra"? This is a very much post-Samhitā word, which represents a late Dravidian borrowing nīra, first found only in this combination in the Śatapatha Brāhmaṇa before the word nīra itself for “water” was used in Sanskrit.

And you cannot get away with any nonsense simply by castigating “colonial Indologists”! Especially when your whimsical objections to “relatively dating the mandalas” coincide with those of western Indologists like Witzel.

I feel degraded to have to reply to people of this low an intellectual level. To such people, pure data has no value and must give way to their personal biases and prejudices. In my books and articles, I have given all the solid data which shows the exact order of the books of the Rigveda.

And my article on the Chronological Gulf simply cannot be answered by "scholars" of this type:

https://talageri.blogspot.com/2022/08/final-version-of-chronological-gulf.html

As I have said before in referring to these chronological extremists, they are free to cultivate and enjoy their legions of admirers. But please they should not make the mistake of thinking that they can find any “absurdities” in my chronological datings.


Postscript added 24 January 2026:

Incidentally, though the context of speaking about the chronology of the name Namī Sāpya in the Rigveda has never arisen before in my writings, the important fact to be noted (as I noticed just now, and hence this postscript) is that the hymn in which the name occurs (and is cited by Vedveer Arya) has already been cited by me in my earlier books and articles, whenever and wherever I have referred to the occurrence of the name Purukutsa in the Old Rigveda as interpolated references:

VI.20.10 is the only verse in the Old Books, singled out by Prof. Hopkins (HOPKINS 1896a:72-73), in the "Final Note" to his path-breaking article "Prāgāthinī - I", as a verse which seems to have "interesting marks of lateness", in spite of the hymn not being a Redacted Hymn.

Now, on going through Hopkins' article once more, I find that while he specifies this particular verse as having “interesting marks of lateness”, he notes that the hymn VI.20 as a whole (although Oldenberg did not include it in his list of Redacted hymns because it did not violate the system and criteria by which the hymns of the Rigveda were serially “ordered” within each book, and therefore could not directly be called an “unordered” hymn, since only those hymns which directly violated those criteria were classified by him as “unordered”, i.e. Redacted hymns) is nevertheless a Redacted Hymn since it contains late words, occurring outside this hymn “in i., viii., and x., but not elsewhere in family books”.

And not only does Hopkins cite this as his own conclusion, but notes that Oldenberg himself (although as pointed out above, the regularity of its ordered nature prevented him from directly including it in is list of “unordered” hymns) classified hymn VI.20 as “enstellt. And check it out: “"Enstellt" is a German adjective meaning disfigured, distorted, or deformed. It describes something that has been marred, spoilt, or altered in a way that spoils its original appearance”.

Obviously, neither Hopkins nor Oldenberg wrote the above things after consulting their crystal balls and discovering that this would be an important point in my historical analysis of the Rigveda. In short, they had no "colonial" or otherwise ulterior motives at all in classifying hymn VI.20 as having “interesting marks of lateness” or being “enstellt”.

As I have always been insisting, the division of the hymns of the Rigveda into Old, New and Redacted is the key to any meaningful historical analysis of the Rigveda and Rigvedic history.

It is interesting that while the “colonial Indologists” through their objective and masterful analysis of the Rigveda left us these clues which prove the chronological divisions of the Rigveda which prove the OIT, although they did not realize it since they wore the blinkers of the AIT, it is present-day supporters of the OIT who seek to disprove this chronological division of the Rigveda for their own petty reasons in order to fulfill certain petty personal prejudices of their own, regardless of the fact that their attacks are actually attacks on the OIT.