Having cursorily reviewed the subject of vocal and instrumental music, I turn to a brief mention of their musicians.
The chanters of the ancient hymns which were everywhere the same, were called Vaikáras, and their teachers were styled Sahakáras. The Kaláants, or more commonly Kalávants or bards, are well known, and sing the Dhurpad.
The Ḍháḍhís are the Punjabi singers who play upon the Ḍhaḍḍa and the Kingara. They chiefly chant the praises of heroes on the field of battle and lend fresh spirit to the fight. The Ḳawwáls* are of this class, but sing mostly after the Dehli and Jounpúr style, and Persian verses in the same manner.
The Huṛkíyah men play upon the Huṛuk, which is also called Âwaj, and the women the Tála, and they also sing. Formerly they chanted the Karkha, but nowadays only the Dhurpad, and the like. Many of the women add great beauty to their musical accomplishments.
The Dafzan, or tambourine player. The Ḍháḍhí women chiefly play on the Daf and the Duhul, and sing the Dhurpad and the Sohlá on occasions of nuptial and birthday festivities in a very accomplished manner. Formerly they appeared only before assemblies of women but now before audiences of men.
The Sezdah-tálí. The men of this class have large drums, and the women, while they sing, play upon thirteen pairs of tálas at once, two being on each wrist, two on the joint of each elbow, two on the junction of the shoulder blades,* and two on each shoulder, one on the breast and two on the fingers of each hand. They are mostly from Gujarát and Málwah.
The Naṭwas exhibit some graceful dancing, and introduce various styles to which they sing. They play upon the Pakháwaj, the Rabáb and the Tála.
The Kírtaniya are Bráhmans, whose instruments are such as were in use among the ancients. They dress up smooth-faced boys as women and make them perform, singing the praises of Kṛishṇa and reciting his acts.
The Bhagatiya have songs similar to the above, but they dress up in various disguises and exhibit extraordinary mimicry. They perform at night.
The Bhaṅnvayya* resemble the last-named, but they exhibit both by night and day. Sitting and standing in the compass of a copper dish called in Hindi, tháli, they sing in various modes and go through wonderful performances.
The Bhánḍ play the Duhul and Tála and sing and mimic men and animals.
The Kanjarí: The men of this class play the Pakháwaj, the Rabáb and the Tála, while the women sing and dance. His Majesty calls them Kanchanís.*
The Naṭs are rope-dancers, and perform wonderful acrobatic feats. They play on the Tála and Duhul.
The Bahu-rúpí exhibit their mimicry by day: youths disguise themselves as old men so successfully that they impose upon the most acute observers.
The Bázígar performs wonderful feats of legerdemain and by his dexterous conjuring deceives the eye. For instance, one will carry an enormous stone on his back, or they will appear to cut a man into pieces and then restore him to his natural state.
Their extraordinary performances are beyond description and each of them affects a special style of vocal accompaniment.