Lyric and background history of song dui hate kaler mondira

Parjaay: Bichitro (5)

Taal: Kaharwa

Raag: Iman-Kirtan

Anga: Kirtan

Written on: 1923 (30 Chaitra 1329)

Published in: Shantiniketan Patrika

Swarabitan: 30

Notation by: Dinendranath Tagore

Notes: This song was written on 13th April, 1923 at Shantiniketan.

Amita Sen, in her book ‘Nritya-rachanay Rabindranath’, has elaborated her memory associated to this song –

… Rabindranath had been to Kathiawar where he was amazed to see girls dancing with small brass bells (mandira) held in both hands. It was not as sophisticated as the famous Garwa dance of the Gujarat and adopted by girls of the down-trodden poor families. Rabindranath had once invited a lady and her daughter to perform their dance from Kathiawar. I can remember sitting beside Rabindranath at the lemon orchard, south of the Dwarik on the first day of their performance.

As desired by Rabindranath a few girls of the Ashram had learnt the art of dance with brass bells. The style was unusual and not like the way we are used to strike Kartal held in both hands along with songs. The bells were smartly tied with the fingers of both hands and their out-stretched hands moved round. They would sit on the ground and the tinkling sound would spread around and the rhythmic motion of their body would create an ambiance. The elders among us like Manju-di, Minu-di, Manasi-di, Baro Anita, Gouri-di, Bablidi, Basu-di, Labu-di, Sabita-debi (the newly maries wife of Kriti Tagore) and few others trained themselves with the unique style. At this time Rabindranath had written the song –

Dui haate

Kaaler mondira je sadai baaje

Daine Bnaaye dui haate …

This incidence had been mentioned in ‘Rabindra-sangeet’ written by Shantidev Ghosh –

… Gurudev had returned to Shantiniketan after travelling Sindhu Kathiawar in the year 1329B, when he came up with a peasant family. The little girl of the family aged between twelve and thirteen could dance in a unique style with a pair of bells held in hand. He had wished to popularize the style among the girls of Shantiniketan. A program was organized in the Amro-kunja within the Ashram premises in the end of Chaitra. Gurudev after watching the dance performance had penned the song – ‘Dui haate kaaler mondira je sadai baaje …’.

Pankajkumar Mullick, in his book ‘Aamar Jug Aamar Gaan’, has depicted a story that appears to be rather strange –

… Dramatized version of ‘Chokher Baali’, a novel by Rabindranath had been staged in the Corinthian Theatre in 1927/28. The Great Poet had accepted the invitation from Ananda Parishad and had come to see the play. I was acting in he role of an apathetic singer and for a scene we needed the use of the song by him ‘Kaaler mondira je sadai baaje…’. However, Lakshmi-da had opted for a calm variation of the song instead of its original rhythmic form. He had asked me to compose a tune for the song. I was in trouble and I headed straight to see Dinu-babu. Without any hesitation he approved it and extended permission on the poet’s behalf. I was agitated although from my conscience. I went to see Dinu-babu once again couple of days after the show when he assured me that the poet did not express his anguish about the composition. …