Bhairav Se Sohni” Deserved, and People Did Not Even Get to Geetika’S All-Women Classical Music Festival Know of It Until It Was Televised Four Days Later
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IN the last week of February 1983, a MADHU, RUTH significant cultural event took place in the capital, but unfortunately, because no big names or labels were attached to it, and also because of lack of funds, it did not get the attention or the audiences it “Bhairav Se Sohni” deserved, and people did not even get to Geetika’s All-Women Classical Music Festival know of it until it was televised four days later. The event was “Bhairav Se Sohni”, the first ever all-women classical music festival. for the emergence of women performers and hear. Even more interesting was the The festival was organized by Geetika over was a sign of things to come, and that this fact that only two of them were acquainted three sessions on February 26 and 27, in would be the first of many such festivals. with each other before the festival, and Kamani auditorium, New Delhi. The Thakur Jaideva Singh, reputed that the details of the joint performance festival, covering both Hindustani and musicologist and Shannoji’s guide, had been verbally worked by them while Karnatic music, was unique in that all the pointed out in his introductory speech that travelling together on the train to Delhi. performers, both the main artistes and the in the recent past women singers have They must have played for an hour, accompanists, were women. The moving received a certain amount of recognition just going around the circle, passing a force behind the festival and behind but the majority of women instrumentalists rhythmic motif to each other, and doing Geetika is Dr Shanno Khurana, a reputed remain in oblivion because platforms are variations on it. They were able to grip vocalist, composer, and promoter of the not made available to them, He said the everyone’s attention, even though using arts. festival was the realization of Shanno’s five such different drums. They seemed to Imaginatively structured, the festival dream of a forum for women artistes, play to each other avoiding the temptation was the product of a great deal of particularly for those of them who play to put on a personal “show.” As dedicated hard work, and breathed the instruments traditionally played only by accompanists too, later in the festival, spirit of love for music. It took no small men. these women impressed with the courage to open the festival with relatively The first session then began with ‘Tal steadiness, complexity, discipline, and unknown artistes selected on the strength Vadya”, an unusual and fascinating richness of their rhythmic statements of their work and brought together from performance on five different percussion which combined well with the voicing of remote parts of the country. From instruments— with S. Padma on the such instruments the harmonium and the beginning to end the festival was mridangam, Sukanya Ramagopal on the sarangi. It was enlightening to see how, conducted with a grace and dignity which ghatam, Sasikala on the kanjira, P. for instance, P. Santhakumari was capable were truly refreshing in the context of Santhakumari on the thavil and Aban of playing complex musical ideas on the today’s music world where gimmicks and Mistry on the tabla’ The confidence thavil, which looked like a drum one could personality cults are increasingly coming radiated by these women and their superb see on the street, a folk instrument, and to to take precedence over the simple synchronization was a real treat to watch realize that there must be many such spontaneous relationship between musician, music and listener. This dignity was evident from the inauguration ceremony itself. There were no long pompous speeches or projection of personalities. Announcements were made with impressive dignity by Saroj Vashisht from backstage, instead of having a glittering compere on stage, as has come to be the usual practice. Inaugurating the festival, Begum Abida Ahmed expressed her happiness that the stage was now being claimed by women, who have always given the stage over to men. She hoped that the door thus opened Photographs accompanying this article are Tal vadya: left to right: S. Padma on mridangam, Sasikala on kanjira, P. by Avinash Pasrieha. Santhakumari on thavil, Aban Mistry on tabla Sukanya Ramagopal on ghatam 2 MANUSHI instruments buriried in remote areas all accompanied on the harmonium by her playing of Shobha Kudesia, and the over the country. pupil Savitriben Jhaveri. Dr Mistry, who enjoyable lively performance on the same These five women from such different started taking singing lessons at the age instrument by Neelam Gupta. backgrounds were able to transcend of four from her aunt Mehroo Work- differences of region, of class, of different ingboxwalla, has done historical research music traditions with a rare ease and into the tabla and pakhawaj traditions, and extraordinary skill. It was one of the most is currently teaching music in Bombay. imaginative ways of combining the The session concluded with a moving instrumentalists of Hindustani and and inspiring performance by Asghari Karnanatic music. Begum of Tikamgarh (see interview with They were followed by Aruna her on page 8). She is one of the few Narayan Kalle’s solo performance on the women singers to have taken up and sarangi. She is the first and only woman excelled in dhrupad, traditionally a player of the sarangi in India. She started jealously guarded male preserve, never training seven years ago under her father taught to women. This grand old lady of sarangi maestro Pandit Ram Narayan. The music, disciple of Ustad Zahoor Khan, sarangi has usually been treated as an has maintained her devotion to music accompanying instrument but her father through a lifetime of incredible hardships, has helped develop its potential as a main including 30 years of not being allowed to instrument. Her able performance was practice singing. The evening session ample evidence of this potential. began with K. Dhanalaksmi and K. Bageshwari Qamar playing shehnai The session concluded with Dr Prabha Deivakunjaram, two sisters,playing accompanied by Neelam Gupta duets,on the nadaswaram, a difficult wind on tabla instrument not traditionally played by After the festival, we talked to some of women. the musicians. What they had to say shed They were followed by eminent considerable light on the predicament and violinist Dr N. Rajam, accompanied by her the straggle of women artistes today. 17 year old daughter Sangeeta who has 24 year old Neelam Gupta works as been trained since the age of four by her tabla accompanist at Jwaladevi Mahila mother. A delightful coordination between College, Kanpur. She said: “I used to learn mother and daughter drew out the nuances dance. While dancing, I became attracted of the instrument with sensitivity. Dr Rajam, to the tabla, and began to learn from who was initiated into music by her father, Keshavanand Sharmaji. I have now been and trained by Pandit Onkarnath Thakur, learning tabla for 10 years. I am the only is known for her lyrical style and technical woman tabla player in Kanpur. I do not skill. She teaches at the Benares Hindu come from a family of musicians, but my University, Varanasi. father is a music lover and has always Aruna Kalle on sarangi The festival fittingly concluded with encouraged me. I feel that this festival was Shannoji’s melodic and emotive classical a very good idea. As a tabla player, I Atre, a well known vocalist in Hindustani singing. constantly face discrimination and music, who is now reader of music at All the accompanists for both vocalists prejudice. Many singers and SNDT women’s university, Bombay. She and instrumentalists were women. instrumentalists flatly refuse to play with was trained in the gurukul system by Outstanding among them was Vasanta women accompanists. Some of them Suresh Babu. Nane and his famous sister Mhapsekar, considered by many to be the declare: ‘The women who can accompany Hirabai Barodekar. most eminent living harmonium player in me has not been born.’ Since the tabla is The morning session on February 27 the country. She has accompanied most an accompanying instrument, we are opened with Bageshwari Qamar on the of the best known singers and dependent on main performers and are shehnai. Disciple of Bismillah Khan and instrumentalists. Her interpretation of the adversely affected by their prejudice. This daughter of shehnai player Jagdish Qamar, various ragas was more than an pre-judice is particularly strong against she is the first woman to have taken to accompaniment—it acquired the women tabla players. My aim is to further this difficult wind instrument. significance of background colour in a develop my tabla playing.” She was followed by Dr Aban Mistry’s painting. Also noteworthy was the While Neelam was speaking, Dr. Aban scholarly performance on the tabla, impressively sturdy and controlled tabla Mistry came up, and passionately agreed MARCH-APRIL 1983 No.15 with her that women tabla players performance a month. For women players, the mridangam since the age of 11. constantly encounter prejudice. She said: the situation is even more difficult. Says Mridangam is a main accompanying “Not only men but even some women Sukanya: “Most male singers refuse to be instrument so she gets relatively more performers refuse to be accompanied by accompanied by women artistes. Some do opportunities to perform professionally, women tabla players. The accompanists agree, but on the whole, it is only women but she also usually accompanies women are always considered to hold a secondary who encourage women. Some women also artistes since men object to accompanists. status, even though their art requires just do not want women accompanists, but Her husband, who is a bank officer, had as much devotion and hard work.