When Music and Life Are One...

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Saeeduddin Dagar, a Maestro of Dhrupad, is entering into 70th Year of his life. A introduction to a Sounvenir, which is published in the Honour of him:

One such evening he sat on the serene banks of the Ganges, with the Sun going down, and splashing the colours on the canopy of the vast sky. The day hadn't finished yet and the night was taking birth from the womb of the horizon. The quietness was immense and the vastness timeless. The atmosphere was silent and yet it had a hymn that easily entered his mind. “Shree” raga was its earthly expression. The moment collapsed into rise of the Moon and the night began. He decided to quit Kolkata and music, both, instantly.

Sayeeduddin Dagar, was 25 years old then and the year 1964. The immediate following day he went to Lucknow and found a menial job in Railway Services on Rs 3 a day. The outward world required a living that his inner world of Dhrupad Music couldn't provide. It was a conflict of tremendous pain and sorrow so deep, that each day before the dawn began, darkness would spring a Bairaagi Bhairav and would tell him, a ray shall begin the day. But that hope didn't mean he would surrender, certainly not to any worldly human being, after all duality with Dhrupad never existed for him. Finally one fine day, his uncle had to call him back. The preaching began, again.

Life was simpler and and much more beautiful before his father Hussenuddin Dagar or Bakaji died. But at that time, it was a taalim that seemed so rigorous, almost 10-12 hours a day, practice of 5040 Merkhand Style tanas, in each term of 40 days. Even sickness required a permission. A training of physical hardship that was just the prelude to what life had to offer him later, both physically and emotionally. Baakaji was teaching him the tradition that his ancestors had preserved for almost 500 years.

Dhrupad is perhaps the most ancient discipline of Indian classical music that has its roots in Saamveda and has it own style of expression. It is the soulful, deep alapi of pensive inward joyousness transcending the worldly matters of manifestations, and constantly on the voyage of the notes that strike the expanse of the universe and heart of the existence, both at once and at each progression. It is this search of eternity, in the contours of infinite perception of the human mind, touching the primordial sound when everything began – the surreal permanency or Dhrupad.

Ustaadji is the 19th representative of the Dagar dynasty, for which Dhrupad is everything. Does life have a choice, too? It is for everyone else to ponder, not Ustaadji, whose life and music are one. For what else, the pangs of life has not made him bitter, but has only strengthened his unconditioned love for Dhrupad. Still, in a country like India, where music has spiritual importance, an artist of this talent, depth and exquisite perfection would have had to go through severity of life can not be left to circumstances only, it also requires introspection for each one of those, who proclaim to be Indian classical music lover.

Dagars are associated with Dhrupad so synonymously for years that, it would be very important to have this tradition passed over for people across and for generations to come, as knowledge, philosophy and discipline of music. Perhaps, a documentation of this kind will evolve, enrich it further as it gets imbibed in many minds. So this is everybody's effort, known or unknown, which will be a tribute to Dhrupad and Ustadji's devotional life.

For all those, Ustaadji is an undisputed icon of Dhrupad of our times entering into 71st year of his life. This souvenir is a very small effort to put his life and music into an omnibus – a collection of articles by connoisseurs of music and Dhrupad. We also intend to make it in the form of a reference for Dhrupad for its lovers and students. And of course, it has the moments in Guruji's life and the voyage that never had a beginning and has no ending.

Love Sur (a note) That Gets Internalized to Your Soul : Kishori Amonkar

I always try to observe and attain to the sentience of the divine vision, the Surs create. Then with each other, that state of awareness and sensitivity is one curious becoming that inhibits duality in the company and canopy of seven surs.Love the “Sur”. It communicates directly to your heart and gets internalized to your soul. Please don't get involved into anyone, who impedes this process.

Interview Translated By : Chinmay Borkar

Original Interview in Marathi: Keshav Paranjape

Kishori Amonkar is having her first ever concert on her own written Bandish compositions. In her interview she describes her perspective, which in itself reveals her philosophy about Music and her creativity.

(More on terminologies of Indian classical music:

http://en.wikipedia.org/wiki/Bandish)

The programme of your own written compositions(Bandish), is first of its kind.

Yes. I do sing some of them in my concerts. But a dedicated programme of my writings and compositions is the first of its kind. I haven't written a book on those, nor have I spoken about it. I thought organisers had a fairly logical explanation in having such a programme, and I was convinced. I must also say that, their idea of presenting me as a “writer” or a “composer” , does not appeal to me much. But young artists do sing these and often are unsure about who is the writer. Also, in order for these to be presented correctly in their form as well as meaning, I consider it as my responsibility to have them perform myself.

How is this concert different from your other concerts?

I, myself, must first remember that this is a programme of Bandish. In other concerts, I try my best to create the atmosphere of the raga and I believe, the concert is usually over if that is achieved perfectly. Often I take interval after one raga is over. This will not happen here. I will try to present all the forms of Bandish: A slow and steady melodic composition (vilambit), a medium tempo melodic competition (Madhyalaya), a fast tempo melodic composition (Drut). I intend to present 8 to 10 of these types. I believe in time and raga relationship. So I sing only those ragas, suitable for specific time, in my concerts. This may not be possible in this programme.

What is the difference between presenting the Bandish and eliciting the Raga?

I think, plenty. Bandish is only an instrument to present the Raga. The Bandish operates only to allude to, in the form of words what the Bhava, or the emotive revelation, that a raga supposed to manifest. It gives it a structure, and a rhythm. One has to free oneself from it, and go beyond its realm into its abstract form, while incarnating the same to the listener. Bandish is like knowing somebody at the first go: knowing the name, address etc. But this is just the beginning. How will a small canoe sail through a ocean of the raga? But we seem to admire the canoe, just too much!

More often, you sing traditionally written compositions (Bandish). What is the thought behind it?

Yes, it is true. Very rarely do I sing my own. Firstly, it is important for me not let the listener' s attention move away from the intended original aalapi of the raga. The sense of new has a danger of distraction. Secondly, I have been a part of a such a rich tradition of our dynasty (gharana), passed on to me by my mai (mother), with the wholeness of that complete structure, one hardly needs to have anything different. It is certainly true of the compositions by Alldia Khan Saheb. Those traditional compositions of Bandish are absolutely aligned to meaning of the raga, and so does their structure : graceful and accurate. One doesn't need to alter a single syllable even in the extended, slow and steady, form of the raga. When one is endowed with such a treasure, why should one have anything of one's 'own' ?

What is the inspiration behind your new Bandish compositions?

Inspiration is different from perspective. Inspiration springs the creative process, and I choose to sing – or sometimes not to sing - with a perspective in mind. We learned the traditional compositions of Bandish with great discipline. It is true that, we do sometimes take freedom in those too, but we are preached to the core, not to deviate even slightly from their original form, and it has ingrained into us like a principle. But when I find something new, something that touches you often, one automatically clings to it, then it takes its own form, and a new Bandish is made. Such incidents do happen: I was, once, listening to Satar. Nikhil Bannerji was playing it in Rangabhavan : The raga was Bageshri with insistence and stress on its“Dhaivat”. I liked the form of expression just as mind was afloat with random words until they came home to their integral structure; and “Re Biraha Na Jala” bandish found its existence. I have complete faith in what our ancient legendaries of music have delved on the form – rather emotive and deep expression – of ragas. In fact, I try to revive the same experience, as I understand it, from my own praxis of recitation (riyaz) and I believe, I do manage get to the highest possible sometimes. Many a time, the meaning of the traditional compositions differ greatly from what they intend to manifest through the raga. In that case, the notes themselves reveal the ultimate structure of Bandish and only when I understand it, I sing it. Mind wavers from the subliminal and encompassing atmosphere of the raga, described by our ancient musical maestros, if its Bandish does not harmonize with it. Not in just the meaning, but also in its structural rules : I, once recorded, the extended form - slow and steady - (vilambit) of Bhupa.But soon I was upset; I strongly felt, it doesn't adhere to Bhupa's original insistence and its allegories. Out of that disquiet state, my own extended (vilambit) form of Bhupa,“Pratham Sur Sadhe”, discerned its way.

How does creative process of Bandish take place?

I may or may not choose the Bandish for the concert that has sprung in my mind, for it is a continuous process. It is the creative integration of many ingredients: raga, its emotive expression, words and their meanings, the rhythm, and the tala (beats). Sometimes, it is only the few introductory lines, or the Refrain and thereafter the Bridge doesn't seem to come. Perhaps it is the only form for it, which is complete in itself – and therefore, I don't purposely make any effort to complete the Bandish. There is no bondage, as such. It is not necessary to formulate a Bandish for every expression of words that arises in my mind. Sometimes it is simply a poem, a tune, or even words of profound meaning. Sometimes a poem and a Bandish may come together. This reminds me one such incident: When I used to live in Parle, we had a wonderful plant in our backyard. Once I returned home after a long tour only to find it perished and its foliage spread around. Some deep pensive wave pierced into my heart and it took the form of the words: It was a Bandish.

You have also been a creative composer of New Ragas and of course, Bandish of those too?

Certainly! But I never try to fit the traditional composition into New Ragas. I think the creative process is never fragmentary : Every aspect effortlessly creates and/Or mixes with one another. When it takes a complete form, one can name it with words : Anand Malhar,Niranjani Todi are the names given after their form was clear. For example, in the descending Bhupa, one can also find Shuddha Madhyam. I have, of course, not given it a 'new' name, but it has its own Bandish.

Can it, therefore, be said that to write a New Bandish is one aspect of creativity in Indian Classical Music?

I look at 'creativity' differently. I think, it is no creative benefit to music, if one only formulates new Bandish. The highest form of emotive and deeply moving music, is always new in itself; it doesn't require carved-out layers of newly written Bandish and therefore the words.

Please tell us something about your Bandish, “Sahela Re” .

“Sahela Re” is my dream, albeit unfulfilled one yet. In our childhood, we artists and musicians would meet and sing together, often. I always try to observe and attain to the sentience of the divine vision, the Surs create. Then with each other, that state of awareness and sensitivity is one curious becoming that inhibits duality in the company and canopy of seven surs. What then presents itself is Bandish, you and I see.

Please tell us something about your first ever programme on your written compositions (Bandish).

People have loved me always, and even for this programme they will come for their great affection to Kishori. I value it tremendously. And still I would like to them that, don't love Kishori. Love the “Sur”. It communicates directly to your heart and gets internalized to your soul. Please don't get involved into anyone, who impedes this process. Let the Bandish belong to the Raga and not to Kishori. Let it take it highest form of that divine assimilation; I pray for the same.