Jodhpur RIFF At 20: HH Gaj Singh II On Rajasthan’s Folk Music And Its Global Legacy

xcerpts:The iconic Mehrangarh Fort stays accessible till the wee hours of the morning only on these dates. The dawn concert, one of the many firsts the Jodhpur RIFF started, remains one of the most spectacular concert experiences. The melodies seep into the 19th-century walls of the fort, and the environment is electric with over a thousand people getting together with a singular thread: immersing in the universal language of music in an environment that’s exclusive, historical, and comes with a purpose. Of showcasing to the world that India produces some of the best in traditional music, intricate tunes that are heard on global stages—some artists discovered and nurtured right here on the stages of this not-for-profit festival.  

With the festival in its 20th year, Robb Report India catches up in an exclusive conversation with the founder and chief patron of Jodhpur RIFF, HH Gaj Singh II of Marwar-Jodhpur.

Excerpts:

Robb Report India: What are your earliest memories of the folk music of Marwar, and how has that influenced what we see at RIFF today?  

HH Gaj Raj Singh II: At festivals and weddings, I would hear musicians performing. The courtly music was gharana. We had the traditional gharana style of music, with Gavari Devi and Allah Jilai Bai singing Maand. Today, very few artists performing Maand in that style remain, and their music was recorded. I remember growing up listening to these tape recorders. Then there were the Langas. I thought that very few of them were left, so when I got married in 1973, we invited one of the main groups, which I thought was among the last remaining groups of its kind. From there, the tradition developed. I took them to my baraat (wedding), and they performed at various functions. Their children and other younger members of the community also became known, and that is how we developed the theme. And I felt it would be a good idea to give these musicians greater exposure. That is how the idea of the festival started. 

RRI: Two decades into the festival, what do you see as its future, particularly when it comes to the next generation? 

HH: There are two or three aspects to consider. First, the festival has grown tremendously and become very popular. We are happy to have people from all over the world, as well as repeat visitors from Jodhpur and elsewhere in India. What is particularly encouraging is that the festival has now settled into its own identity. We have discerning visitors. In the early years, people would come out of curiosity to see what was happening. That has faded, and now people come because they are genuinely interested in the music. We have reached a certain level, and I do not think we want to increase the numbers much further. It would become unwieldy. 

Another development is that RIFF has become established enough for us to create programmes for other platforms, both in India and abroad. We are developing RIFF packages for international exhibitions and festivals, as we recently did in Korea, where we presented a RIFF segment with the SAZ group. 

We are also working on training workshops for young children. [Our chief curator] Divya Bhatia is handling that, and the programme is progressing well. Young musicians are receiving training through word-of-mouth networks, but we need to give this process a more formal structure. 

Also, the young audiences are beginning to understand [folk] music because, in the past, they simply did not have enough exposure to it. When they did encounter folk music, it was often through Bollywood-influenced versions rather than authentic performances. Indian classical and folk music need to be experienced in person. [For instance,] I developed a real appreciation for Indian classical music only after attending a concert in Calcutta (Kolkata). Seeing the interaction between the musicians and the emotions they brought to their performances helped me appreciate the recorded music further. 

RRI: Over the years, has there been a particular musician, band, or folk group that has been especially close to your heart and that you have watched grow? 

HH: Among the Manganiyars, Anwar Khan is one of them, who also won a Padma Shri. We also have the Kamatchi players, and there are several other artists. I cannot single out a group because there are so many. But one group we have consistently worked with, and which has emerged from the festival, is SAZ. 

RRI: What made you choose Mehrangarh Fort as the venue for RIFF?

HH: Mehrangarh is the epicentre of our cultural promotion. It is a museum, but we also wanted to introduce activities within it, including live music in its various courtyards, and bring the space alive. 

When the Jaipur virasat split up, the literary festival remained in Jaipur, but music came to Mehrangarh. So it was a conscious decision to have [this] festival at Mehrangarh. The venue itself, along with its various locations, adds to the character of the music and the overall experience. 

RRI: You have spoken about wanting RIFF to become a global platform showcasing what Rajasthan has to offer. The festival is also novel in terms of its setting and curation. Do you envision RIFF becoming a luxury travel experience in music?  

HH: I think it already is! We want to maintain a certain standard and avoid overcrowding, because that would destroy the experience. People should be able to enjoy the environment, ambience, and atmosphere. What you see here is a relaxed, easy-going, free-flowing atmosphere, with the right people enjoying what they have come to see. 

RRI: How would you describe Jodhpur RIFF to a global audience who has never attended the festival? 

HH: It is an immersion in India's folk traditions, interspersed with international inputs. It is a confluence of music in which the Rajasthani folk music takes centre stage. 

The festival allows people to understand where Rajasthani folk music stands in comparison to international music, all within the cultural environment from which it originated.

RRI: How has the festival evolved in the last 20 years? 

HH: I am very satisfied that we now have a discerning audience. People come to listen rather than simply for the spectacle. Many return year after year, which tells us that there is something about the festival that connects with them. That connection creates the right atmosphere for music lovers.

RRI: We see a lot of similar-format festivals now mushrooming in Rajasthan and other parts of the country. What is your view on this growing festival culture and how is RIFF different?   

HH: It is a good thing. Each festival has its own way of developing. [But what differentiates us] is authenticity. We work with international partners who share that same principle. It is not simply a show put on for an audience. 

The idea behind [the festival] is important. It is not a commercial venture intended to make money. In fact, the [Mehrangarh] Museum Trust has to subsidise it.  

The important thing is that people should feel that the festival is being organised for an authentic purpose: to promote music, support our artists, and help them achieve a better position in life.

RRI: What is Sir Mick Jagger's association with the festival and how did he become a patron? 

HH: Mick is a friend, and I have known him for some time. He attended one of the festivals in 2007, and I asked him whether he would become a patron. He agreed and has visited two or three times. This year, Mick also got Ronnie Wood [band member of the Rolling Stones] with his family.  

RRI: What does RIFF mean to you personally today?   

HH: Personally, I look forward to the concerts because I genuinely enjoy them. People ask me why I attend every day, and the answer is simple: I enjoy it. RIFF fulfils one of the important aspects of my work: cultural promotion. 

I want people to carry away a feeling of engagement with the musicians, our music, and our traditions. I also want them to understand that our folk music has a strong connection with classical music. 

You see the connection when folk musicians perform alongside artists from other traditions. They may have only two or three hours to rehearse together, and they may not even speak the same language. Yet, when they come on stage, they perform as one. 

That is why music is called a universal language. It demonstrates that principle beautifully.