A devotional song popularised by Gandhi
"Raghupati Raghava Raja Ram" (also called Ram Dhun) is a bhajan (devotional song) widely popularised by Mahatma Gandhi and set to tune by Vishnu Digambar Paluskar in Raga Mishra Gara . [1] [2] [3]
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"Raghupati Raghava Raja Ram" (also called Ram Dhun) is a bhajan (devotional song) widely popularised by Mahatma Gandhi and set to tune by Vishnu Digambar Paluskar in Raga Mishra Gara . [1] [2] [3]
The precise origins of the song are not entirely clear. [4] It is believed to have been either written by Tulsidas (or based on his work Ramcharitmanas) [5] or based on a 17th-century sung-prayer by the Marathi saint-poet Ramdas. [6] [7]
Anthony Parel writes in Gandhi's Philosophy and the Quest for Harmony, [8]
[T]he origin of Ramdhun is shrouded in legend. According to the legend that he preferred it was composed by the great Hindu poet Tulsidas (1532-1623). While on a pilgrimage visiting the Vishnu temple of Dakore, Northern India, Tulsidas was moved to bargain with Vishnu. Until Vishnu revealed himself as Rama he would not bow his head in prayer. His wish was promptly granted: Rama appeared in his mind with his wife Sita, and three of their devotees. Hence, explains Gandhi, "Ramdhun, meaning intoxication with God [Ram]
There have been many versions of the Ramdhun, and the version that Mahatma Gandhi used had an "ecumenical flavour" to it. Gandhi modified the original bhajan, adding that the Ishwar of the Hindus and the Allah of the Muslims were one and the same, [9] to make the song more secular-looking and to spread the message of reconciliation between Hindus and Muslims. [10] The song was extensively used to project a secular and composite vision of Indian society — it was sung during the 1930 Salt March. [11]
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Gara is a Hindustani classical raga belonging to the Khamaj Thaat. This raga is similar to raga Jaijaiwanti. Both ragas i.e. raga Jaijaiwanti and raga Gara, have the same svaras. Gara is a rare raga. It is rendered in the late evening. The raga uses all the seven notes, six in the ascent and seven in the descent. Therefore, the Jati of the raga is Shaadav-Sampurna. While some say that seven svaras are played in the ascent and seven in the descent. Therefore, the Jati then becomes Sampurna-Sampurna. It uses both, the Komal (flat) and Shuddha (full) Nishad, and all other notes are Shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Khamaj Thaat. Gara belongs to a family of melodic entities, which were apparently derived from folk melodies, and entered art-music in association with the thumri genre. This family includes ragas like Kafi, Piloo, Jangula, Barwa, and Zilla, along with several others. This raga expresses the feeling of happiness and satisfaction of achievement, however it simultaneously conveys the sadness of losing. This raga is also a vivacious and romantic one.
Rarely do they bother to point to his innovation of adding Ishwar Allah Tero Naam to the Tulsidas Ram dhun Raghupati Raghav Raja Ram.
There is also Francis, a French hippie pal of Orphan, who sacrifices his life to save Bharat in a club brawl and then dies requesting, "Pour l'amour de Dieu....votre chanson" (i.e., the Gandhian anthem Raghupati Raghava Raja Ram), while cradled in Bharat and Orphan's arms in an amazing intercultural pieta.
...band of boisterous hippies who energetically throw themselves into singing, "Raghupati Raghav Raja Ram." The re-working of one of Gandhi's favourite hymn is effected through wit, humour, irony and even irreverence.