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In the second part of "Unboxed - The Harmonium In India," host Sharmadip Basu details how the European-origin harmonium, adapted for Indian conditions, became a favoured instrument across genres. Despite its affordability, portability, and durability, nationalists criticised its foreign origins, and purists disapproved of its inability to handle microtones (shruti). Figures like Nehru, Gandhi, Tagore, and Coomaraswamy expressed their disdain, and eventually it was banned on All India Radio. Despite this, the harmonium flourished among the masses and gained acceptance among some Carnatic and Hindustani musicians. Frustrated by the ban, harmonium players staged a satirical funeral procession burying their instruments. The harmonium later returned to Indian airwaves and became a staple in musical genres among the diaspora.
Listen to the full story on Ep 2 of "Unboxed - The Harmonium in India" on Radio Azim Premji University. Don’t miss the first episode of this series.
Credits:
Akshay Ramuhalli, Bijoy Venugopal, Bruce Lee Mani, Harshit Hillol Gogoi, Narayan Krishnaswamy, Prashant Vasudevan, Sananda Dasgupta, Seema Seth, Shraddha Gautam, Supriya Joshi, and Velu Shankar
For a full list of acknowledgements and resources for further exploration, visit our website: https://azimpremjiuniversity.edu.in/unboxed-harmonium-india
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Growing up in West Bengal, Sharmadip Basu believed the harmonium, a common sight in the region’s middle-class households, was an Indian instrument. However, while reading Milan Kundera’s The Joke, he stumbled upon a mention of the harmonium in Moravian folk music, prompting him to delve into its origins.
His findings fascinated him even more. The harmonium had arrived in India through Christian missionaries but was then adapted and embraced by musicians across various religious groups, being used in Brahmo Samaj hymns, Sikh kirtans, ghazals, bhajans, and more. Initially transformed by a Bengali instrument-maker to suit Indian conditions and playing styles, affordable versions flooded the market, gaining popularity among folk musicians.
Despite criticism from nationalists, purists, and figures like Gandhi, Nehru, and Tagore, who disparaged its sound, the harmonium remained widely loved. Despite All India Radio banning it, its popularity endured.
In the first part of our two-episode series on Radio Azim Premji University, explore the tale of how the harmonium took root in India and captured the hearts of Indians.
Credits:
Akshay Ramuhalli, Bijoy Venugopal, Bruce Lee Mani, Harshit Gogoi, Narayan Krishnaswamy, Prashant Vasudevan, Sananda Dasgupta, Seema Seth, Shraddha Gautam, Supriya Joshi, and Velu Shankar
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The harmonium. So organic and familiar is its sound that few Indians would imagine that its origins lie outside their country. Yet, packed into its compact box-like shape is a fabled history that meanders from 19th century Europe to 20th century colonial India.
An instrument invented — and patented — in Europe by a Frenchman, the harmonium was reinvented in colonial Calcutta by a Bengali instrument maker to suit Indian climatic conditions, musical playing styles, and affordability. While its sound drew congregations together, it equally irked nationalists and patriots who warned of its propensity to pollute the refined musical ear of Indians. Despite the opposition, the popularity of the harmonium spread like wildfire as it accompanied folk musicians of various persuasions across the country, and thereafter into the world as a cultural export with the Indian diaspora.
Unpacking this fascinating tale for Radio Azim Premji University is Sharmadip Basu, who teaches history and social science at the university. Stay tuned for Unboxed - The Harmonium In India, in the first episode of a two-part series.
Credits:
Akshay Ramuhalli, Bijoy Venugopal, Bruce Lee Mani, Kripa Gowrishankar, Narayan Krishnaswamy, Prashant Vasudevan, Sananda Dasgupta, Seema Seth, Shraddha Gautam, Supriya Joshi, and Velu Shankar
