The Shahir’s Song: Origins of Powade in Marathi Oral Tradition

Tracing the roots of powade, this section explores how Shahirs became the torchbearers of oral history in Maharashtra. It unpacks the evolution of this poetic form—from celebratory ballads of Maratha valor to instruments of protest and identity—and their enduring relevance in community memory.

Shahir and Shahiri Kavane

(Marathi Ballad Singers and their Poetry – The Powada)

“Vidnyaan Shahir” Prabhakar Jamkhedkar and
Shahir Vasantrai Nanivadekar

Origins

Powada

powada (masculine, singular), powade (plural) (syn. pawada, pawad). Etymology: pra + vad (Sanskrit root) > pravaad > pravaad > pawad > powada. ‘Pawad’ literally means to say something at the top of your voice, loudly, to stress a point. The first record of the word ‘pawad’ appears in Dnyaneshwari, the first treatise in Marathi. In ancient Marathi the word is used with different meanings, such as strength, valor, praise, expansion, and desire. Powade are equivalent to the western ballad.

Shahir

The origin of Shahiri is as ancient as Marathi culture. Not only that the Shahiri literature is called “The Dawn of Marathi poetry.”

The word ‘Shahir’ is purely a Marathi word. Some scholars are of the opinion the word Shahir is derived from Arabic. Referring to Urdu-Marathi Shabd Kosh by Shripad Joshi, word “sha i r” appears on page 418 (1st edition). The meaning of the word is Kavi or Shahir. Shri M. V. Dhond, the author of “Marathi Lavani,” 2nd edition, July 1988, says, “Shahir, tamasha, kalgi-tura – words were in use 2-3 hundred years prior to the regime Muslims in Maharashtra.”

We suggest an interesting origin of the word ‘Shahir.’ We believe it originates from the Sanskrit word “swair.” The marathi dictionary gives the meaning of the word as “self-willed,” and the same meaning is found in the Sanskrit dictionary by V. S. Apte.

Powada’s Place in Marathi Literature

Marathi poetry is broadly divided into three categories:

1. Sant Kavi (Saint poets)
2. Pant Kavi (Learned poets), and
3. Tant Kavi – Shahir Kavi (Ballad poets)

All the three exhibit distinguishing features of their own. Saint poets are attracted towards devotional path, Pant poets towards intellectual path while Tant Kavi (Shahir Kavi) concern themselves with active worldly life – opposite of ‘Nivrutti’ (abstaining from worldly life). Powade are ballads, so are written by ballad poets, or tant kavi.

Powade in the Historical Record

We can see three broad periods in the history of powade:

• 1st period (1630-1818 A.D.): Shivaji rule to Peshwa rule.
• 2nd period (1818–1947): British rule – prior to Independence.
• 3rd period (1947 onwards): Post Independence.

Prior to Shivaji’s ascent to the throne, during the Yadav period, there was a mention of ‘Bhativ Kavane’ in Dnyaneshwari (17.294.97). Bhativ Kavane is supposed to be a form of powade. There are 2-3 more references in Dnyaneshwari (3.5.163 and 2.0.10). Powada during Dnyaneshwari period was in the form of a song in praise of gods – ‘nivrutti muktabai changvev gadha| haricha pavada zeltati’. Originally, shahirs performed at open places or grounds in front of local temples. The seeds of the classical form of powade that flourished during Shivaji were sown during this time.

Shahiri literature began during the reign of the great Chhatrapati Shivaji Maharaj (1630-1680 A.D.) The literature developed further during the Peshwa period, but declined with their downfall. After the decline it took rebirth in the form of modern Marathi poetry. The classical Marathi ballad continues to contribute significantly to Marathi culture.

The oldest powada still available is “Afazal Khanacha Vadh” (The Killing of Afzal Khan) by Shahir Agindas alias Adnyandas. Judging by the well-knit of composition and style of the ballad, we can safely assume that the art of ‘Shahiri’ had developed considerably at the time it was written.

From the 1st period only 3-4 powade are available.

1. Afzal Khan Vadh by Addnyandas 
2. Tanaji Malusara by Tulsidas 
3. Vaijapurcha poawada – only a line – author unknown, and
4. Baji Pasalkar by Yamaji.

From Shahu period about 5-6 powade are available. There are about 150 powade from the Peshwai period. From the British period, one can come across about another 150 powade. Subsequent to 1947, it is difficult to assess the exact number of powade, but as a conservative estimate, the number may exceed 1000. Similar is the case of Shahir. During Shivaji period there were three known shahir; Adnyandas, Tulsidas, and Yamaji Bhaskar. During Peshwa person the number goes up to 25, notable amongst them being Ram Joshi, Honaji Bala, Prabhakar, Prashram, Sagan Bhau, Anant Phandi, Gangu Haibati, Lahri Mukunda and Bala Bahiru etc.

For example Dr. S. V. Gokhale brought to notice one of the earliest published powada, by Rao Barve in Dnyanprakash of 14.41856. The subject matter expressing anger against British is laudable in those days. In the year 1869 Mahatma Jyoti Govindrao Phule wrote a pawada on Shivaji (Shivajicha Pawada).

It is interesting to note that the British took an interest in preserving powade. A notable example is that of Harry Arbothnot Acworth. He along with Shankar Tukaram Shaligram published “Itihas prasiddha purushanche va striyanche powade” (Powade of Illustrious Historically Famous Men and Women) in 1891 . With the encouragement of Acworth, Govind Ballal Shitut, and Balkrishna Atmaram Gupte subsequently published books on powade. Mr. Yashwant Narsinmh Kelkar published three volumes of powade, thus rendering an important service to the promotion of powade. Maharashtra should be grateful to these Gondhalis and powade collectors. Gondhalis saved history while the powade collectors saved oral tradition in print form.

Shahiri literature created immense interest in a few scholars like Shripad Mahadev Varde, M. N. Sahasrabuddhe, M. V. Dhond, and others. Varde published a series of articles in a popular Marathi periodical ‘Vividhvrutta’. They were subsequently published as a collection in the book “Marathi Kavitecha Ushhahkal – Kinva Marathi Shahir.” M. N. Sahsrabuddhe published a book entitled “Marathi Shahiri Vangmay” in the decade of 1950 based on a lecture series delivered by him at Mumbai Marathi Sahitya Sangh. M. V. Dhond was outstanding in presenting new information on the subject of Marathi Lawani. All the above scholarly articles added vital information to the literature of powade.

In addition, individual shahir published numerous powade books and other poetry for the benefit of masses. These were cheaply priced hence reached large number of admirers. Prior to 1947, more than two dozen shahir were recognized.

List of Powade Singers

Names of ‘Powade Shahir’ (listed by M. N. Sahasrabuddhe in his book.)

Saganbha,
Parshuram,
Patthe Bapurao Redrekar,
Sheikh Amin Bhai Bagwan,
Yervadekar,
Ramchandra Dalvi (Turewale),
Sidram Rawal (Guru – Sagan Bhau),
Buwa Rawal,
Tukaram Bhoi,
Abaji Gundaji More,
Udaji Burud
Kavi Rama Devang (Marathwada),
Honaji,
Satappa (grand father of Honaji - oldest Lavwani),
Hasan,
Ranu Gudaji
Bala laxman’
Kavi Bhujang,
Khemu Om,
Jiwaji Panchal,
Phattu,
Mansing Bhobana,
Appa Desai,
Atmagiri (disciple of Fakir - Powada of Umaji Naik) 

Lawani Shahir:
Bala Bahiru,
Honaji,
Mahadu Vishwanath,
Dhondiba Shahir,
Phandi Malik (Disciple - Phandi Anant),
Sagan Bhau,
Sant Nagu (disciple Naru Bapu (Marathwada)).

There used to be branches in ‘Shahiri Kavane’, Nagesh Bali, Dnyan Bali, and Nath Sampradai. Their symbols were : ‘Jari Zomb’, ‘Bhagve Zende’ (saffron flags), ‘Kalgi’ and ‘Tura’. Such branches and symbols were not present in Sant and Pandit poetry.

Shahir were identified into two types; Turewale and ‘Kalgiwale’. Both had the same ultimate objective of ‘parbrahma’, with the support of ‘Dwaita’ (Duality). This was done to convince ignorant masses. In Maharashtra means ‘Shiv-shakti’ Turewale believed in Shiv-shakti by cross examining Kalgi side. In all 82 shahir were listed of which 45 belonged to Turewale and 37 to Kalgiwale sides. Marathwada had 46 shahir according to ‘Pratishtn’ magazine in 1955.

Some of the names not appearing in the above list are given below:  
1.	Adnyandas
2.	Tuslidas
3.	Yamaji
4.	Ram Joshi
5.	Prabhakar
6.	Lahari Mukunda
7.	Gangu Haibati
8.	Rao Barve
9.	Jotiba Phule
10.	V.D.Savarkar
11.	Govind Darekar 
12.	Lahari Haidar
13.	Ramchandra Dalvi
14.	P.D.Khadilkar
15.	M.N.Nanivadekar
16.	Pralhadray Jamkhedkar
17.	Pirajirao Sarnaik
18.	G.D. and R.D.Dixit 
19.	Sidram Muchate. 
20.	Prabhakar Gokale
21.	Jathar
22.	Lokhande
23.	Sakhaklkar
24.	Ekbote, Govind Swami Aphale
25.	Anant Mule
26.	Amar Shaikh
27.	Annabhau Sathe
28.	D.N.Gavankar
29.	Atmaram Patil 
30.	Krishnrao Sable
31.	Pundalik Pharande
32.	Vasant Bapat 
33.	Liladhar Hegde
34.	Shankarrao Nikam
35.	Ganpat Sumbhe
36.	Visnupant Kardak
37.	Shaik Jainu Chand
38.	Chandu Bharadkar
39.	Viththal Umap
40.	Kuntinath Karte
41.	Sharam Joshi
42.	Rajaram Jagtap
43.	Bapu Vibhute
44.	Ambutai Vibhute
45.	Kisan Hinge 
46.	Yogesh
47.	Vasantrai Nanivdekar
48.	Prabhakar Jamkhedkar
49.	Vinayak Jamkedkar
50.	Kanitkar
51.	Shivram Chavan
52.	Hemant Mavle
53.	Rajabhau Khamkar
54.	Ranzan Bangnikar
55.	Sharad Muthe
56.	and many others

(This is not an exhaustive list, names intimated to us would be added to the list.)

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