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Maha Shivaratri
Lord Shiva
Observed by	Hindus in general, Shaivites in particular, International Mandi Shivratri Fair
Type	Hindu
Date	February/March
2012 date	February 24
Observances	Fasting, worship of Lingam

Maha Shivratri is a Hindu festival celebrated every year in reverence of Lord Shiva. Alternate common names/spellings include Maha Sivaratri, Shivaratri, Sivarathri, and Shivaratri. Shivaratri literally means the great night of Shiva or the night of Shiva. It is celebrated every year on the 13th night/14th day of the Maagha or Phalguna month of the Hindu calendar. Since many different calendars are followed by various ethno-linguistic groups of India, the month and the Tithi name are not uniform all over India. Celebrated in the dark fortnight or Krishna Paksha(waning moon) of the month of Maagha according to the Shalivahana or Gujarati Vikrama or Phalguna according to the Vikrama era.^[1][2] The festival is principally celebrated by offerings of Bael or Bilva/Vilvam leaves to Lord Shiva, all-day fasting and an all-night-long vigil. In accordance with scriptural and discipleship traditions, penances are performed in order to gain boons in the practice of Yoga and meditation, in order to reach life's summum bonum steadily and swiftly. A week-long International Mandi Shivratri Fair held at Mandi in the Indian state of Himachal Pradesh every year is one of the major tourist attractions in the state.^[3]

Legends[link]

According to a legend, Parvati performed tapas, prayed and meditated on this day to ward off any evil that might befall her husband on the moonless night. Since then, Mahashivaratri is believed to be an auspicious occasion for women to pray for the well-being of their husbands and sons. An unmarried woman prays for a husband like Shiva, who is considered to be the ideal husband.^[1] Another legend of the day is that Shiva and Shakti married each other.

There is one more legend associated with Samudra Manthan (churning of ocean), a process in which the asuras (demons) and the gods joined hands to churn out amrut(nectar) from the depths of the ocean, using a mountain and a snake as a rope. Among many things that came out, a pot of poison came out of the ocean. This poison was so potent that it has the power to destroy the whole universe.all the devathas (gods)and asuras ran in different directions to save themselves.no one could dare to stop the spreading poison and on the request of gods, Lord Shiva drank the poison. Shocked by His act, Goddess Parvathi just tightened her noose with her hands over the neck of the Lord and hence managed to stop it in His neck. The poison was so potent that it changed the color of His neck to blue. For this reason, Lord Shiva is also called Neelkanta.^[4]

Pralaya (the Deluge)[link]

Another version relates that the whole world was facing destruction and Goddess Parvati worshipped her husband Shiva to save it. She prayed for the jivs (living souls) remaining in se –- like particles of gold dust in a lump of wax -- during the long period of pralaya (deluge) night, that they should, upon becoming active again, have His blessings, but only if they worshipped Him just as she did. Her prayer was granted. Parvati named the night for the worship of Ishwar by mortals Maha-Sivaratri, or the great night of Shiva, since Pralaya is brought about by Him.om shiv

The Lord Shiva's Favourite Day[link]

After creation was complete, Parvati asked Lord Shiva which devotees and rituals pleased him the most. The Lord replied that the 13th night of the new moon, during the month of Maagha, is his most favourite day. Parvati repeated these words to her friends, from whom the word spread over all creation.

The Story Of King Chitrabhanu[link]

Once upon a time King Chitrabhanu of the Ikshvaku dynasty, who ruled over the whole of Jambudvipa (India), was observing a fast with his wife, it being the day of Maha Shivaratri. The sage Ashtavakra came on a visit to the court of the king.

The sage asked the king the purpose of his observing the fast. King Chitrabhanu explained that he had a gift of remembering the incidents of his past birth, and in his previous life he had been a hunter in Varanasi and his name was Suswara. His only livelihood was to kill and sell birds and animals. The day before the new moon, while roaming through forests in search of animals, he saw a deer, but before his arrow flew he noticed the deer's family and their sadness at its impending death. So he let it live. He had still not caught anything when he was overtaken by nightfall and climbed a tree for shelter. It happened to be a Bael tree. His canteen leaked water, so he was both hungry and thirsty. These two torments kept him awake throughout the night, thinking of his poor wife and children who were starving and anxiously waiting for his return. To pass away the time he engaged himself in plucking the Bael leaves and dropping them down onto the ground.

The next day he returned home and bought some food for himself and his family. The moment he was about to break his fast a stranger came to him, begging for food. He served the food first to stranger and then had his own.

At the time of his death, he saw two messengers of Lord Shiva, sent to conduct his soul to the abode of Lord Shiva. He learnt then for the first time of the great merit he had earned by unconscious worship of Lord Shiva during the night of Shivaratri. The messengers told him that there had been a Lingam (a symbol for the worship of Shiva) at the bottom of the tree. The leaves he dropped had fallen on the Lingam, in imitation of its ritual worship. The water from his leaky canteen had washed the Lingam (also a ritual action), and he had fasted all day and all night. Thus, he unconsciously had worshipped the Lord. As the conclusion of the tale the King said that he had lived in the abode of the Lord and enjoyed divine bliss for a long time before being reborn as Chitrabhanu. This story is narrated in the Garuda Purana.^[5]

‘Sivaratri’ means ‘night of Lord Siva’. The important features of this religious function are rigid fasting for twentyfour hours and sleepless vigil during the night. Every true devotee of Lord Siva spends the night of Sivaratri in deep meditation, keeps vigil and observes fast.

The worship of Lord Siva consists in offering flowers, Bilva leaves and other gifts on the Linga which is a symbol of Lord Siva, and bathing it with milk, honey, butter, ghee, rose-water, etc.

When creation had been completed, Siva and Parvati had been living on the top of Kailas. Parvati asked: “O venerable Lord, which of the many rituals observed in Thy honour doth please Thee most?” Lord Siva replied: “The thirteenth night of the new moon, Krishna Paksha, in the month of Phalguna (February-March) is known as Sivaratri, My most favourable Tithi. My devotee gives Me greater happiness by mere fasting than by ceremonial baths, and offerings of flowers, sweets, incense, etc.

“The devotee observes strict spiritual discipline in the day and worships Me in four different forms in the four successive Praharas, each made up of three hours of the night. The offering of a few Bilva leaves is more precious to Me than the precious jewels and flowers. He should bathe Me in milk at the first Prahara, in curd at the second, in clarified butter at the third, and in honey at the fourth and last. Next morning, he should feed the Brahmins first and break the fast after the performance of the prescribed ceremonies. There is no ritual, O Parvati, which can compare with this simple routine in sanctity.

Just hear, My Beloved, of an episode which will give you an idea of the glory and power of this ritual, said Lord Shiva to Parvati.

“Once upon a time, there lived in the town of Varanasi a hunter. He was returning from the forest one evening with the game birds he had killed. He felt tired and sat at the foot of a tree to take some rest. He was overpowered by sleep. When he woke up, it was all thick darkness of night. It was the night of Sivaratri but he did not know it, He climbed up the tree, tied his bundle of dead birds to a branch and sat up waiting for the dawn. The tree happened to be My favourite, the Bilva.

“There was a Linga under that tree. He plucked a few leaves dropped them down. The night-dew trickled down from his body. I was highly pleased with involuntary little gifts of the hunter. The day dawned and the hunter returned to his house.

“In course of time, the hunter fell ill and gave up his last breath. The messengers of Yama(Hinduism) arrived at his bedside to carry his soul to Yama(Hinduism). My messengers also went to the spot to take him to My abode. There was a severe fight between Yama’s messengers and My messengers. The former were totally defeated. They reported the matter to their Lord. He presented himself in person at the portals of My abode. Nandi gave him an idea of the sanctity of Sivaratri and the love which I had for the hunter. Yama surrendered the hunter to Me and returned to his abode quickly.

“The hunter was able to enter My abode and ward off death by simple fasting and offering of a few Bilva leaves, however involuntary it might be because it was the night of Sivaratri. Such is the solemnity and sacredness associated with the night”.

Parvati was deeply impressed by the speech of Lord Siva on the sanctity and glory of the ritual. She repeated it to Her friends who in their turn passed it on to the ruling princes on earth. Thus was the sanctity of Sivaratri broadcast all over the world. <http://www.dlshq.org/download/lordsiva.htm>

Rituals of Maha Shivratri[link]

From the very early morning, Shiva temples are flocked by devotees, young and old, who come to perform the traditional Shivalinga worship (puja) and hence hope for favours from the god. Devotees bathe at sunrise, preferably in the Ganga, or any other holy water source (like the Shiva Sagartank at Khajurao). This is a purificatory rite, an important part of all Hindu festivals. Wearing a clean piece of clothing after the holy bath, worshippers carry pots of water to the temple to bathe the Shivalinga. They offer prayers to the sun, Vishnu and Shiva.Women pray for the well-being of their husbands and sons. An unmarried woman prays for a husband like Shiva, who is considered to be the ideal husband. The temple reverberates with the sound of bells and shouts of “Shankerji ki Jai” meaning 'Hail Shiva'. Devotees circumambulate the linga, three or seven times, and then pour water over it. Some also pour milk.

According to the Shiva Purana, the Mahashivaratri worship must incorporate six items:

• Bathing the Shiv Linga with water, milk and honey, and Wood apple or bel leaves added to it, representing purification of the soul;
• The vermilion paste applied on the Shiv Linga after bathing it, representing virtue;
• Offering of fruits, which is conducive to longevity and gratification of desires;
• Burning incense, yielding wealth;
• The lighting of the lamp which is conducive to the attainment of knowledge;
• And betel leaves marking satisfaction with worldly pleasures.

Tripundra refers to the three horizontal stripes of holy ash applied to the forehead by worshippers of Lord Shiva. These stripes symbolise spiritual knowledge, purity and penance (spiritual practice of Yoga), so also they represent the three eyes of Lord Shiva.

Wearing a rosary made from the rudraksha seed of the rudraksha tree (said to have sprung from the tears of Lord Shiva) when worshipping Lord Shiva is ideal. A rudraksha seed is a mahogany-like color, sometimes black, and sometimes may have traces of sacred sandalwood powder, turmeric, kumkum, or holy ash if the rosary was used in worship ceremonies or anointed.

Other Traditional Worship of Lord Shiva[link]

The twelve Jyotirlingas (lingams of light) are sacred shrines of Lord Shiva, and centres for his worship. They are known as Swayambhus, meaning the lingams sprung up by themselves at these places and temples were built there afterwards.

Temples are listed in the India tourist guides.

Shivaratri in India[link]

International MahaShivratri Fair[link]

The Mandi festival or fair is particularly famous as the special fair transforms Mandi town into a venue of grand celebration when all gods and goddesses, said to be more than 200 deities of the Mandi district assemble here, starting with the day of Shivaratri. Mandi town located on the banks of the Beas River, popularly known as the "cathedral of temples", is one of the oldest towns of Himachal Pradesh with about 81 temples of different gods and goddesses in its periphery. There are several legends linked to the celebration of this event. The festival is centred around the protector deity of Mandi "Mado Rai" (Lord Vishnu) and Lord Shiva of the Bhootnath temple in Mandi.^[3][6][7]

Mahashivaratri in Central India[link]

Central India has a large number of Shiv followers, the ujjain mahakaleshwar temple is the major sacred palce. apart from ujjain, Tilwara ghat, Jabalpur, Jeonara, Math Temple, Seoni are the major places where Mahashivratri Festival is celebrated religiously.

Mahashivaratri in Southern India[link]

Maha Shivaratri is celebrated widely in the temples all over Andhra Pradesh, Karnataka, Kerala and Tamil Nadu. Shiva is considered the Adi (first) Guru from whom the yogic tradition originates. According to tradition, the planetary positions on this night are such that there is a powerful natural upsurge of energy in the human system. It is said to be beneficial for one's physical and spiritual well-being to stay awake and aware throughout the night.On this day, artists from various fields such as music and dance perform the whole night.

Sahasrakalasabishekam[link]

This is a very special and rare puja conducted during 10 days of Maha Sivarathri festival. It is well known that Lord Siva is abhishekapriya (lover of ablutions). Lord Parasurama and Kroshta Muni, during their worship of the Lord here, are believed to have bathed the deity with Sahasrakalasam or a thousand pots of holy water according to Vedic rites. Now during Mahasivarathri festival days the Head Priest (Thanthri) and his team perform this puja. It is a ten day function, each day an offering of 101 Kalasam or pots of holy water (100 being made of silver, while one is made of gold), surcharged with mantras recited by learned Brahmins seated on the Mukhamantapam. These are emptied on the deity, the golden pot Brahmakalasam being the last one. A magnificent light is the indication or identity of Lord Shiva and the Shiva Lingam is considered to be the symbol of it. Hence, the formal worship on Maha Shivaratri consists of bathing the Shiva Lingam. Lord Shiva is said to be burning with the fire of austerity and so only those items are offered to Him that have a cooling effect. A cool water bath is believed to propitiate Him best. There is a belief among devotees that participation in Sahasrakalasam and offering holy worship materials, will lead to blessings with prosperity and peaceful life. Hundreds of devotees thronging the shrine with chants of “Namah Shivaya”, “Hara hara Mahadeva”, and “Sambho Mahadeva”...

Sivarathri Nrutham[link]

Sivarathri Nrutham at Thrikkuratti temple, according to religious scholars, resembles the cosmic dance of Shiva, called ‘Anandatandava,' meaning, ‘the Dance of Bliss’ symbolizing the cosmic cycles of creation and destruction, as well as the daily rhythm of birth and death. The dance is a pictorial allegory of the five principle manifestations of eternal energy - creation, destruction, preservation, salvation, and illusion.

The Priest keeps sheeveli vigraha (idol) fixed on decorated frame on his head. He makes seven rounds on Pradakshina Vazhi (holy walkway made of granite around Sanctum Santorum). When the fifth round is reached at the west nada (Parvathi nada), the door opens for just 10 minutes. This is an annual ceremony. Thousands of Pilgrims rush to have a glance of this auspicious moment. At this time all the pradakshina vazhi will be lit with camphor and brass temple lamps by thousands of devotes who stay awake through the night while chanting “Nama Sivaya”, “Hara Hara Mahadeva” and “Sambho Mahadeva”. Older devotees sing “Hara sankara siva sankara duritham kala sivane”. In this enlightened serene mood, the Priest performs Nrutham and runs the pradakshina vazhi towards the east nada. During the next two rounds he accepts “Valiya kanikka”. The Sivarathri Nrutham is followed by the well known magnificent display of fireworks.

Mahasivarathri Procession[link]

On Sivarathri day evening a grand procession starts from Kadapra Kainikkara Temple. It includes, several decorated floats, Kaavadi Aaatam, Mayilattom, Amman Kudom, Thaiyyam, Vela Kali, Kuthiyotta Chuvadu, richly caparisoned elephants and folk art forms etc. attracts thousands of devotees and tourists. When the main procession reaches Market Junction, other mini processions from Kurattikkadu Mutharamman Temple, Kurattissery Kannamkavil Mutharamman Temple, Thrippavoor Mahavishnu Temple, Vishavarsherikkara Subrahmanya Swami temple, Sreekaryam Maliekal Rajan temple, and Alumoodu Sivaparvathy Temple joins and makes the procession quite livening. The marvellous as well as magical effect of the Sinakari melam and Panchavadyam, a combination of five percussion and wind instruments is to be felt and enjoyed. Among the varieties of festivals celebrated in Kerala, Thrikkuratti Sivarathri Procession is one of the most thunderous, spectacular and dazzling. It is an expression of popular fascination for sound and colour, and because of the pageantry, it appeals to all people including foreigners. Once the procession reaches the temple, Deeparadhana is followed by colourful display of fireworks.

Panchaakshari[link]

Shiva, as the god of destroying evil, is the third among the divine trinity of Hindu mythology. The holy mantra consisting of five-syllables: "Na" "Ma" "Shi" "Vaa" "Ya" (Om NamaH Shivaaya) in praise of Lord Shiva is chanted incessantly on special occasions like Shivaratri. His thousands of names, each of which describe His greatness, may also be chanted. Shiva means "auspicious". As Shankara, He is the giver of happiness to all. Nataraja (the king of dancers) is a favourite form adored by dancers and musicians.

[edit] 'Rudrabhisheka''

There is a special mantra in the Vedas (the most ancient scripture in the history of human race and which forms the fountain-head of the Hindu culture) - Rudra Sukta - which is recited by pundits while they offer a holy bath to Lord Shiva by way of washing a Shiva-linga or a Shaligrama which are the symbols of god with the waters of sacred rivers like the Ganges. This ritual is known as "Rudrabhisheka". A Shaligrama constitutes a sacred pebble that often conceals ammonite fossils within. Such precious stones are brought from the river Gandaki at the frozen summits of the Himalayas.

Washing the Shaligrama as a part of Shiva-puja symbolises the removal of impurities from our mind. It also means washing off false ego. Unless we attain self-realization, we all become the victims of a false-self or an ego. False-self is due to an illusion (or ignorance), a covering upon our real soul, of our mind, which then acts from mistaken identity. According to Vedanta (philosophical doctrines), this accumulation of false-self upon our real Self is the root cause of our bondage and sufferings in life. This notion of purification (of Shaligram stone by holy waters) also symbolises at the philosophical level, the eradication of the accumulated material interests (of us) which often blur the inherent spiritual core or Reality.

Mysticism[link]

According to the mystic mythology of the Puraanaas, the Kailasa peak of the Himalayas is the abode of Shiva and He bears the Ganges on His head. As the Lord of creatures, He is metaphorically called as Pashupathi (with Nandi, the bull, His favourite animal) and His fearless nature is euphemised as Sarpabhushana. Shiva's posture in the meditation is ascribed to Him as the head of Yogis (Yogiraja) who practises various spiritual feats to attain salvation. Lord Shiva's divine consort, Goddess Parvati (who is also the daughter of Himalaya), is the deity of strength. Numerous stories in mythology describe the births of their two sons - Lord Ganesha and Lord Kartikeya (or Guha or Shanmukha or Skanda or Murugha) and their various significances.

References[link]

External links[link]

Wikimedia Commons has media related to: Shivaratri

• Spiritual Significance of Shivratri
• Shivaratri by Swami Sivananda (Divine Life Society)
• Hindu Jagruti

v t e Festivals in the Hindu calendar Major festivals Pongal Makar Sankranti Holi Rama Navami Krishna Janmashtami Maha Shivaratri Onam Ganesh Chaturthi Navratri (Mysore Dasara – Durga Puja – Vijayadashami) Diwali (Bhau-Beej) Chhath Vat Purnima Thaipusam Regional New Year Gudi Padwa (Marathi, Konkani) Ugadi (Telugu, Kannada) Cheti Chand (Sindhi) Bihu (Assamese) Bisu (Tuluva) Vaisakhi (Punjabi) Vishuva Sankranti (Oriya) Pohela Boishakh (Bengali) Puthandu (Tamil) Vishu (Malayalee) Holy days Ekadashi Gowri Habba Karwa Chauth Mahalakshmi Vrata Raksha Bandhan Sankranti Savitri Brata Thaipusam Holy periods Chaturmas Dhanurmas

Look up maha in Wiktionary, the free dictionary.

Maha may refer to:

Acronyms[link]

• MaHa, Nepali comedy duo, Madan Krishna Shrestha and Hari Bansha Acharya
• Microangiopathic hemolytic anemia

Indian words[link]

In Sanskrit and other Indian languages influenced by it, the prefix maha means "great".

• Maha Avatar, Great incarnation
• Mahatma, Great Atma
• Maharaja, Great King
• Maharishi, Great Rishi
• Mahābhārata, Great Bharata
• Maha Ati Tantra, Great Tantra
• Maha Nikaya, Great Collection
• Maha Shivaratri, Hindu festival
• Mahabodhi, Buddhist temple in Bodh Gaya

People[link]

• Maha Nawrahta, Burmese general
• Maha el-Samnah, Canadian Khadr family matriarch
• Maha Singh, Sikh warrior

Places[link]

• Maharashtra, state located in West India

Other uses[link]

• Maha (cat), a cat NPC in .hack//SIGN
• Maha Muduru, a 2007 film
• Maha Music Festival, an annual music festival held on the riverfront in Omaha, Nebraska

See also[link]

• Omaha (tribe), also known as Maha tribe
• Maha Mantra (disambiguation)

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

This page or section lists people that share the same given name. If an internal link led you here, you may wish to change that link to point directly to the intended article.

Ravi Shankar
Shankar performs in Delhi in March 2009
Background information
Birth name	Robindro Shaunkor Chowdhury
Born	(1920-04-07) 7 April 1920 (age 92) Varanasi, United Provinces, Indian Empire
Genres	Hindustani classical music
Occupations	composer, musician
Instruments	sitar
Years active	1939–present
Associated acts	Uday Shankar, Allauddin Khan, Ali Akbar Khan, Lakshmi Shankar, Yehudi Menuhin, Chatur Lal, Alla Rakha, George Harrison, Anoushka Shankar, Beatles
Website	RaviShankar.org

Ravi Shankar (Bengali: রবি শংকর; born Robindro Shaunkor Chowdhury on 7 April 1920), often referred to with the title Pandit, is an Indian musician and composer who plays the plucked string instrument sitar. He has been described as the most known contemporary Indian musician by Hans Neuhoff in Musik in Geschichte und Gegenwart.^[1]

Shankar was born in Varanasi and spent his youth touring Europe and India with the dance group of his brother Uday Shankar. He gave up dancing in 1938 to study sitar playing under court musician Allauddin Khan. After finishing his studies in 1944, Shankar worked as a composer, creating the music for the Apu Trilogy by Satyajit Ray, and was music director of All India Radio, New Delhi, from 1949 to 1956.

In 1956, he began to tour Europe and America playing Indian classical music and increased its popularity there in the 1960s through teaching, performance, and his association with violinist Yehudi Menuhin and George Harrison of The Beatles. Shankar engaged Western music by writing concerti for sitar and orchestra and toured the world in the 1970s and 1980s. From 1986 to 1992 he served as a nominated member of the upper chamber of the Parliament of India. Shankar was awarded India's highest civilian honor, the Bharat Ratna, in 1999, and received three Grammy Awards. He continues to perform in the 2000s, often with his daughter Anoushka.

Early life[link]

Shankar was born 7 April 1920 in Varanasi to a Bengali Brahmin family as the youngest of seven brothers.^[2][3][4] Shankar's Bengali birth name was Robindro Shaunkor Chowdhury.^[2] His father, Shyam Shankar, an administrator for the Maharaja of Jhalawar, used the Sanskrit spelling of the family name and removed its last part.^[2][5] Shyam was married to Shankar's mother Hemangini Devi, but later worked as a lawyer in London.^[2] There he married a second time while Devi raised Shankar in Varanasi, and did not meet his son until he was eight years old.^[2] Shankar shortened the Sanskrit version of his first name, Ravindra, to Ravi, for "sun".^[2]

At the age of ten, after spending his first decade in Varanasi, Shankar went to Paris with the dance group of his brother, choreographer Uday Shankar.^[6][7] By the age of 13 he had become a member of the group, accompanied its members on tour and learned to dance and play various Indian instruments.^[3][4] Uday's dance group toured Europe and America in the early to mid-1930s and Shankar learned French, discovered Western classical music, jazz, and cinema, and became acquainted with Western customs.^[8] Shankar heard the lead musician for the Maihar court, Allauddin Khan, in December 1934 at a music conference in Kolkata and Uday convinced the Maharaja of Maihar in 1935 to allow Khan to become his group's soloist for a tour of Europe.^[8] Shankar was sporadically trained by Khan on tour, and Khan offered Shankar training to become a serious musician under the condition that he abandon touring and come to Maihar.^[8]

Career[link]

Training and work in India[link]

Shankar's parents had died by the time he returned from the European tour, and touring the West had become difficult due to political conflicts that would lead to World War II.^[9] Shankar gave up his dancing career in 1938 to go to Maihar and study Indian classical music as Khan's pupil, living with his family in the traditional gurukul system.^[6] Khan was a rigorous teacher and Shankar had training on sitar and surbahar, learned ragas and the musical styles dhrupad, dhamar, and khyal, and was taught the techniques of the instruments rudra veena, rubab, and sursingar.^[6][10] He often studied with Khan's children Ali Akbar Khan and Annapurna Devi.^[9] Shankar began to perform publicly on sitar in December 1939 and his debut performance was a jugalbandi (duet) with Ali Akbar Khan, who played the string instrument sarod.^[11]

Shankar completed his training in 1944.^[3] Following his training, he moved to Mumbai and joined the Indian People's Theatre Association, for whom he composed music for ballets in 1945 and 1946.^[3][12] Shankar recomposed the music for the popular song "Sare Jahan Se Achcha" at the age of 25.^[13][14] He began to record music for HMV India and worked as a music director for All India Radio (AIR), New Delhi, from February 1949 to January 1956.^[3] Shankar founded the Indian National Orchestra at AIR and composed for it; his compositions experimented with a combination of Western instruments and classical Indian instrumentation.^[15] Beginning in the mid-1950s he composed the music for the Apu Trilogy by Satyajit Ray, which became internationally acclaimed.^[4][16]

International career 1956–1969[link]

Tabla player Alla Rakha, who was a frequent accompanist of Shankar, in 1988

V. K. Narayana Menon, director of AIR Delhi, introduced the Western violinist Yehudi Menuhin to Shankar during Menuhin's first visit to India in 1952.^[17] Shankar had performed as part of a cultural delegation in the Soviet Union in 1954 and Menuhin invited Shankar in 1955 to perform in New York City for a demonstration of Indian classical music, sponsored by the Ford Foundation.^[18][19] Shankar declined to attend due to problems in his marriage, but recommended Ali Akbar Khan to play instead.^[19] Khan reluctantly accepted and performed with tabla (percussion) player Chatur Lal in the Museum of Modern Art, and he later became the first Indian classical musician to perform on American television and record a full raga performance, for Angel Records.^[20]

Shankar heard about the positive response Khan received and resigned from AIR in 1956 to tour the United Kingdom, Germany, and the United States.^[21] He played for smaller audiences and educated them about Indian music, incorporating ragas from the South Indian Carnatic music in his performances, and recorded his first LP album Three Ragas in London, released in 1956.^[21] In 1958, Shankar participated in the celebrations of the tenth anniversary of the United Nations and UNESCO music festival in Paris.^[12] From 1961, he toured Europe, the United States, and Australia, and became the first Indian to compose music for non-Indian films.^[12] Chatur Lal accompanied Shankar on tabla until 1962, when Alla Rakha assumed the role.^[21] Shankar founded the Kinnara School of Music in Mumbai in 1962.^[22]

Shankar befriended Richard Bock, founder of World Pacific Records, on his first American tour and recorded most of his albums in the 1950s and 1960s for Bock's label.^[21] The Byrds recorded at the same studio and heard Shankar's music, which led them to incorporate some of its elements in theirs, introducing the genre to their friend George Harrison of The Beatles.^[23] Harrison became interested in Indian classical music, bought a sitar and used it to record the song "Norwegian Wood (This Bird Has Flown)".^[24] This led to Indian music being used by other musicians and created the raga rock trend.^[24]

Harrison met Shankar in London in 1966 and visited India for six weeks to study sitar under Shankar in Srinagar.^[14][25][26] During the visit, a documentary film about Shankar named Raga was shot by Howard Worth, and released in 1971.^[27] Shankar's association with Harrison greatly increased Shankar's popularity and Ken Hunt of Allmusic would state that Shankar had become "the most famous Indian musician on the planet" by 1966.^[3][25] In 1967, he performed at the Monterey Pop Festival and won a Grammy Award for Best Chamber Music Performance for West Meets East, a collaboration with Yehudi Menuhin.^[25][28] The same year, the Beatles won the Grammy Award for Album of the Year for Sgt. Pepper's Lonely Hearts Club Band which included "Within You Without You" by Harrison, a song that was influenced by Indian classical music.^[26][28] Shankar opened a Western branch of the Kinnara School of Music in Los Angeles, California, in May 1967, and published an autobiography, My Music, My Life, in 1968.^[12][22] He performed at the Woodstock Festival in August 1969, and found he disliked the venue.^[25] In the 1970s Shankar distanced himself from the hippie movement.^[29]

International career 1970–present[link]

George Harrison, U.S. President Gerald Ford, and Ravi Shankar in the Oval Office in December 1974

In October 1970 Shankar became chair of the department of Indian music of the California Institute of the Arts after previously teaching at the City College of New York, the University of California, Los Angeles, and being guest lecturer at other colleges and universities, including the Ali Akbar College of Music.^[12][30][31] In late 1970, the London Symphony Orchestra invited Shankar to compose a concerto with sitar; Concerto for Sitar and Orchestra was performed with André Previn as conductor and Shankar playing the sitar.^[4][32] Hans Neuhoff of Musik in Geschichte und Gegenwart has criticized the usage of the orchestra in this concert as "amateurish".^[1] George Harrison organized the charity Concert for Bangladesh in August 1971, in which Shankar participated.^[25] Interest in Indian music had decreased in the early 1970s, but the concert album became one of the best-selling recordings featuring it and won Shankar a second Grammy Award.^[28][31]

During the 1970s, Shankar and Harrison worked together again, recording Shankar Family & Friends in 1973 and touring North America the following year to a mixed response after Shankar had toured Europe with the Harrison-sponsored Music Festival from India.^[33] The demanding schedule weakened Shankar, and he suffered a heart attack in Chicago in November 1974, causing him to miss a portion of the tour.^[34] In his absence, Shankar's sister-in-law, singer Lakshmi Shankar, conducted the touring orchestra.^[34] The touring band visited the White House on invitation of John Gardner Ford, son of U.S. President Gerald Ford.^[34] Shankar toured and taught for the remainder of the 1970s and the 1980s and released his second concerto, Raga Mala, conducted by Zubin Mehta, in 1981.^[35][36] Shankar was nominated for an Academy Award for Best Original Music Score for his work on the 1982 movie Gandhi, but lost to John Williams' E.T.^[37] He served as a member of the Rajya Sabha, the upper chamber of the Parliament of India, from 12 May 1986 to 11 May 1992, after being nominated by Indian Prime Minister Rajiv Gandhi.^[14][38] Shankar composed the dance drama Ghanashyam in 1989.^[22] His liberal views on musical cooperation led him to collaboration with contemporary composer Philip Glass, with whom he released an album, Passages, in 1990.^[6]

Shankar underwent an angioplasty in 1992 due to heart problems, after which George Harrison involved himself in several of Shankar's projects.^[39] Because of the positive response to Shankar's 1996 career compilation In Celebration, Shankar wrote a second autobiography, Raga Mala, with Harrison as editor.^[39] He performed in between 25 and 40 concerts every year during the late 1990s.^[6] Shankar taught his daughter Anoushka Shankar to play sitar and in 1997 became a Regent's Lecturer at University of California, San Diego.^[40] In the 2000s, he won a Grammy Award for Best World Music Album for Full Circle: Carnegie Hall 2000 and toured with Anoushka, who released a book about her father, Bapi: Love of My Life, in 2002.^[28][41] Anoushka performed a composition by Shankar for the 2002 Harrison memorial Concert for George and Shankar wrote a third concerto for sitar and orchestra for Anoushka and the Orpheus Chamber Orchestra.^[42][43] In June 2008, Shankar played what was billed as his last European concert,^[29] but his 2011 tour includes dates in the United Kingdom.^[44]

Style and contributions[link]

Shankar plays the raga Madhuvanti at the Shiraz Arts Festival in Iran in the 1970s

Shankar developed a style distinct from that of his contemporaries and incorporated influences from rhythm practices of Carnatic music.^[6] His performances begin with solo alap, jor, and jhala (introduction and performances with pulse and rapid pulse) influenced by the slow and serious dhrupad genre, followed by a section with tabla accompaniment featuring compositions associated with the prevalent khyal style.^[6] Shankar often closes his performances with a piece inspired by the light-classical thumri genre.^[6]

Shankar has been considered one of the top sitar players of the second half of the 20th century.^[1] He popularized performing on the bass octave of the sitar for the alap section and became known for a distinctive playing style in the middle and high registers that uses quick and short deviations of the playing string and his sound creation through stops and strikes on the main playing string.^[1][6] Narayana Menon of The New Grove Dictionary noted Shankar's liking for rhythmic novelties, among them the use of unconventional rhythmic cycles.^[45] Hans Neuhoff of Musik in Geschichte und Gegenwart has argued that Shankar's playing style was not widely adopted and that he was surpassed by other sitar players in the performance of melodic passages.^[1] Shankar's interplay with Alla Rakha improved appreciation for tabla playing in Hindustani classical music.^[1] Shankar promoted the jugalbandi duet concert style and introduced new ragas, including Tilak Shyam, Nat Bhairav and Bairagi.^[6]

Recognition[link]

Shankar won the Silver Bear Extraordinary Prize of the Jury at the 1957 Berlin International Film Festival for composing the music for the movie Kabuliwala.^[46] He was awarded the Sangeet Natak Akademi Award for 1962,^[47] and was named a Fellow of the academy for 1975.^[48] Shankar was awarded the three highest national civil honors of India: Padma Bhushan, in 1967, Padma Vibhushan, in 1981, and Bharat Ratna, in 1999.^[49] He received the music award of the UNESCO International Music Council in 1975, three Grammy Awards, and was nominated for an Academy Award.^[12][28][37] Shankar was awarded honorary degrees from universities in India and the United States.^[12] He received the Kalidas Samman from the Government of Madhya Pradesh for 1987–88, the Fukuoka Asian Culture Prize in 1991, the Ramon Magsaysay Award in 1992, and the Polar Music Prize in 1998.^{[50][51][52][53]} In 2001, Shankar was made an Honorary Knight Commander of the Order of the British Empire by Elizabeth II for his "services to music".^[54] Shankar is an honorary member of the American Academy of Arts and Letters and in 1997 received the Praemium Imperiale for music from the Japan Art Association.^[6] The American jazz saxophonist John Coltrane named his son Ravi Coltrane after Shankar.^[55]

Personal life and family[link]

Shankar in 1988

Shankar married Allauddin Khan's daughter Annapurna Devi in 1941 and a son, Shubhendra Shankar, was born in 1942.^[10] Shankar separated from Devi during the 1940s and had a relationship with Kamala Shastri, a dancer, beginning in the late 1940s.^[56] An affair with Sue Jones, a New York concert producer, led to the birth of Norah Jones in 1979.^[56] In 1981, Anoushka Shankar was born to Shankar and Sukanya Rajan, whom Shankar had known since the 1970s.^[56] After separating from Kamala Shastri in 1981, Shankar lived with Sue Jones until 1986. He married Sukanya Rajan in 1989.^[56]

Shubhendra "Shubho" Shankar often accompanied his father on tours.^[57] He could play the sitar and surbahar, but elected not to pursue a solo career and died in 1992.^[57] Norah Jones became a successful musician in the 2000s, winning eight Grammy Awards in 2003.^[58] Anoushka Shankar was nominated for a Grammy Award for Best World Music Album in 2003.^[58]

Shankar is a Hindu and a vegetarian.^[59][60] He lives with Sukanya in Encinitas, California.^[61]

Discography[link]

Bibliography[link]

• Shankar, Ravi (1968). My Music, My Life. Simon & Schuster. ISBN 0-671-20113-1. 
• Shankar, Ravi (1979). Learning Indian Music: A Systematic Approach. Onomatopoeia. OCLC 21376688. 
• Shankar, Ravi (1997). Raga Mala: The Autobiography of Ravi Shankar. Genesis Publications. ISBN 0-904351-46-7. 

Notes[link]

References[link]

• "Shankar, Ravi" (in German). Brockhaus Enzyklopädie. 20 (19th ed.). Mannheim: F. A. Brockhaus GmbH. 1993. ISBN 3-7653-1120-0. 
• Ghosh, Dibyendu (December 1983). "A Humble Homage to the Superb". In Ghosh, Dibyendu. The Great Shankars. Kolkata: Agee Prakashani. p. 7. OCLC 15483971. 
• Ghosh, Dibyendu (December 1983). "Ravishankar". In Ghosh, Dibyendu. The Great Shankars. Kolkata: Agee Prakashani. p. 55. OCLC 15483971. 
• Lavezzoli, Peter (2006). The Dawn of Indian Music in the West. Continuum International Publishing Group. ISBN 0-8264-1815-5. 
• Massey, Reginald (1996). The Music of India. Abhinav Publications. ISBN 81-7017-332-9. 
• Menon, Narayana (1995) [1980]. "Shankar, Ravi". In Sadie, Stanley. The New Grove Dictionary of Music and Musicians. 17 (1st ed.). London: Macmillan Publishers. ISBN 1-56159-174-2. 
• Neuhoff, Hans (2006). "Shankar, Ravi". In Finscher, Ludwig (in German). Die Musik in Geschichte und Gegenwart: allgemeine Enzyklopädie der Musik. 15 (2nd ed.). Bärenreiter. ISBN 3-7618-1122-5. 
• Schaffner, Nicholas (1980). The Boys from Liverpool: John, Paul, George, Ringo. Taylor and Francis. ISBN 0-416-30661-6. 
• Sharma, Vishwamitra (2007). Famous Indians of the 20th Century. Pustak Mahal. ISBN 81-223-0829-5. 
• Slawek, Stephen (2001). "Shankar, Ravi". In Sadie, Stanley. The New Grove Dictionary of Music and Musicians. 23 (2nd ed.). London: Macmillan Publishers. ISBN 0-333-60800-3. 

External links[link]

Find more about Ravi Shankar on Wikipedia's sister projects:
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Indian classical music portal

• "Ravi Shankar". Official website. http://www.ravishankar.org/. 
• "East Meets West Music". Ravi Shankar Foundation. http://eastmeetswestmusic.com/. 
• Ravi Shankar at Allmusic
• Ravi Shankar at the Internet Movie Database

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