howtal singing or “jaal clashing”, which originated between 1838 and 1917 among indentured workers in India as a good past time of jollyification, has picked up the essence of the season and has complimented Phagwah in Guyana.
Today, chowtal singing has become popular in every temple during the festival of colours and way before the celebration, youths practice verses. In fact, history has proven that Chowtal singing commences the season of Phagwah with various groups, goles, getting together before the actual Phagwah celebration, teaching
Youths from Reliance mandir singing chowtaal
themselves and practicing to become perfect on the anticipated day.
Chowtal is a special folk song performed during the Phagwah celebrations. Chowtal, aside from being the name of a “taal” or meter in Hindustani classical music, is a form of folksong of North India’s Bhojpuri region, sung by religious leaders during the vernal Phagwah or Holi festival.
Before “Holika Dhaan” is performed, it is customary to have Chowtal samelan organised by various groups, organisations, and temples to usher in the Spring festival. Some groups also compete for attractive prizes during this season as it gives them the opportunity to “clash their jaals the loudest” and beat the drums to the rhythmic tunes. Youths look forward to this and often times they just look out for events, especially samelan, to exposed their singing talents.
Chowtal – the high-pitch songs are usually accompanied by the drums (dholak) and the majeera, producing a rich cultural blend of talent and skill.
Chowtal singing brings forth messages of love, peace, and cultural history. Each group also dresses in brightly coloured uniforms, turbans, and an assortment of traditional garments symbolic of Indian folk culture.
In chowtal, two rows of singers face each other (semi-circle), with a “dholak” drummer at one end, singing lines of Hindi text. While the melodies are relatively simple, the song undergoes various modulations of rhythm and tempo, alternating between subdued passages and exciting climaxes. Chowtal is generally sung by enthusiasts for their own pleasure, rather than for an audience. Children also find themselves admiring those in the groups.
Each group comprised of 15 to 20 members and performed for approximately 10 minutes each, showing off their unique singing skills, drumming techniques, jaal clashing techniques and sometimes the sounds are so daring, they are accompanied by performance with special folk dances.
“Chowtal” is in fact an umbrella term for the format, which comprises various subgenres including chowtal proper, jhumar, ulara, lej, baiswara, dhamar, rasiya, kabir, jogira, and others. Popular among the chowtal are “Shiva Shankar Ka Deen Dyala Maha Baradhani”, “Ragunandan Awada ah Bharry Kay Shara rang marri” and Holi Kay Dai Ragubeera”.
Chowtal singing ushers in the festival of Holi, a festival that is observed with prayers and a rejoicing of ranges of ceremonies. The burning of “Holika” is very symbolic and signifies good over evil. A bonfire is usually built in community centres or recreational grounds and is burnt on the phagwah eve “Holika Dhaan” night. On Phagwah the spraying of coloured water known as abeer or sprinkling of various coloured powder begins with continuous singing of Chowtal.
