October 2020 ®

ON Stagevolume 10 • issue 3 WE ARE PREPARING TO WELCOME YOU BACK

may 2020

volume 9 • issue 10

Stage

ON THE ARTS BRING HOME

with the NCPA@home digital series and other cultural offerings from around the world

PLUS HIGHLIGHTS FROM THE LAST SIX DIGITAL ISSUES AND MORE

Chairman’s Note

lanning future activities here at the NCPA is a truly fascinating study in futurology. Tall claims from Pvarious sources, predicting that they would have a vaccine within x months/years, still need verification. From absorbing advanced digital technology to perching a renowned conductor on a huge scaffolding to conduct La bohème in the open is an indicator of the lengths organisations will go to, to bring back audiences, where the real experience is difficult to replicate. However, the second-best experience of witnessing performances at home certainly needs to be pursued for the dual purpose of immediate gratification with current standards, as well as in many cases, invaluable archiving. Our head of the Digital Division, a four-time National Award winner, has written about our plans in this issue. Added inputs will surely be discussed when our council meets, fairly soon. An interesting gathering of the decision-makers heading performing arts centres and major institutions from the United States, Europe, the U.K., Australasia, etc. seemed to seriously veer towards various attempts to bring audiences back. Certainly, the sad pictures of football and tennis tournaments played sans the vital element – people – were convincing enough. So, the future effort of the NCPA also needs to concentrate in these directions. I am happy to inform you that the ON Stage will revert to its printed format from the October issue, and pay tribute to our editor Snigdha Hasan, who emerged unscathed from all these changes.

Khushroo N. Suntook

Chairman_s Note.indd 3 25/09/20 8:33 AM 24

NCPA Chairman Khushroo N. Suntook

Editorial Director Radhakrishnan Nair

Editor Snigdha Hasan Contents Consulting Editor Vipasha Aloukik Pai

Editorial Co-ordinator bears testimony to the tragically Hilda Darukhanawalla 20 ephemeral career of the Polish Features violinist whose virtuosity belied Art Director his age. By Cavas Bilimoria Tanvi Shah

Associate Art Director Hemali Limbachiya 06 19 novels, and video documents ON Stage: Two stellar pianists, Reflections The Performing Arts Dispatch to feature films, Xerxes F. Unvala, cognoscenti may seldom hear Assistant Art Director 42 Nandkishor Sawant ‘Cancel’ Beethoven? A series on performing arts venues General Manager – Symphony Reflections on a Pandemic under one roof, were brought By Anil Dharker from around the world. In focus Orchestra of India & Western In the May 2020 issue of ON Stage, together as part of the latest SOI Graphic Designers this month: The Bolshoi Theatre Classical Music at the NCPA, renowned names from the world season. Vastly different in their Gautami Dave recommends essential reading of Western classical and Indian musicality, they share in common Sanjana Suvarna 08 and viewing to widen your music, jazz, dance and theatre what ties together all great Advertising The Lockdown 20 understanding of and delve weighed in on what cancelled artistes. By Jehangir Batiwala Anita Maria Pancras Story Keepers of the Arts deeper into the genre. concerts, suspended travel, ([email protected]; 66223835) Despite the stillness Historically, the credit for trepidation about large gatherings, Tulsi Bavishi on its stages, much keeping the performing arts and the gift of gestation entail for 55 ([email protected]; 9833116584) has transpired at thriving in India has rested with 32 the performing arts. Going Online: A New Realm Production Manager the NCPA in the royal patronage. Times have The Immersive Worlds of From what it means to perform Mangesh Salvi last six months. The changed but even today, the arts Studio Ghibli before a camera to consuming art momentum has share a symbiotic relationship Floating castles, dust bunnies, for free, Swapnokalpa Dasgupta, Senior Digital Manager 48 shifted to the digital with connoisseur patrons who magical animals and heroic Grand Harmonies Head – Programming (Dance), Jayesh V. Salvi realm with plans afoot strive to keep culture alive dragons might belong to the The Symphony Orchestra of India’s NCPA, addressed the many to excel in it but there through their munificence. realm of the bizarre and the Spring 2020 Season featured the questions that the digital shift Produced by is nothing quite like By Reshma O. Pathare fantastical, but thanks to the heart of the classical repertoire in cultural consumption has the joy of watching a painstaking world-building in in the music of Mozart and given rise to in the June 2020 live performance. And the films of the award-winning Beethoven, the festivity of theatre issue of ON Stage. Editorial Office when the norms allow Japanese animation company, musicals, the Indian premiere of a 4th Floor, Todi Building, 24 Mathuradas Mills Compound, that, the centre will The Many Lives of Seeta they seem incredibly vivid and concerto that calls for communal Senapati Bapat Marg, be ready to welcome In a new series on artistes’ real. By Leena Desai harmony and a stellar roster of 57 Lower Parel, you back in the safest reflections on dance productions world-class musicians. From the The Learning Never Stops Mumbai - 400013 way possible – for the they have presented at the April 2020 issue of ON Stage, we From the May 2020 issue of theatres await you. NCPA, Mallika Sarabhai tells 36 bring you some memorable ON Stage: In the absence Printer By Snigdha Hasan the story of her choreography Kaleidoscope moments of the season. of classroom lessons, the Spenta Multimedia, Peninsula Spenta, that became an instrument of Your window to the latest in the SOI Music Academy shifts Mathuradas Mill Compound, N. M. Joshi Marg, Lower Parel, 15 discussion on women’s rights performing arts across India and gears and switches to online Mumbai – 400013 13 Looking Ahead and empowerment. the world. 53 teaching, bringing together Agility to Meet Challenges From showcasing great Music First musicians and students under Materials in ON Stage®cannot be In the absence of live archival treasures to presenting From the May 2020 issue of one virtual roof. reproduced in part or whole without the performances, the NCPA newly recorded programmes, 26 40 written permission of the publisher. Views management shows the way the NCPA’s digital content policy Roots of the Matter In Remembrance of and opinions expressed in this magazine by adapting to the situation is one envisioned for times Much like the country in which a Visionary are not necessarily those of the publisher. Follow us on: and moving the organisation’s beyond the pandemic and for it evolved, American roots music From the September 2020 All rights reserved. facebook.com/NCPAMumbai curatorial, educational and audiences the world over. is as dynamic and eclectic as the issue of ON Stage: On NCPA Booking Office outreach work to the digital By Sankalp Meshram multitude of cultural groups it Dr. Jamshed J. Bhabha’s @NCPAMumbai 2282 4567/6654 8135/6622 3724 platform with plans afoot for represents. By Narendra Kusnur 106th birth anniversary, @NCPAMumbai www.ncpamumbai.com opening up its offerings to personalities from the world youtube.com/user/TheNCPAMumbai1 audiences the world over. The 16 of the performing arts shared Chairman, genre heads and Josef Hassid: 30 memories of their association senior creatives shed more light The Forgotten Genius On a Literary Note with the man the NCPA owes We look forward to your feedback and suggestions. Please do drop us an

on the way forward. The first half of the 20th century THE CLEVELAND MUSEUM OF ART, GIFT OF DR. NORMAN ZAWORSKI From works of non-fiction to its existence to. email at [email protected]. OPINION

Reflections ‘Cancel’ Beethoven? By Anil Dharker

Until the Coronavirus got its vicious von Schiller poem the composer used in spikes all over it, 2020 was meant to be the final movement of his Ninth symphony, Beethoven’s year. He was born on 17th and its melody, have become symbols December 1770 in Bonn. (In Vienna, of freedom against tyranny. Even non- where he spent most of his adult life and German speakers recognise its line ‘Alle died in 1827, they regard 16th December Menschen werden Brüder’ (All mankind as his birthday). In either case, this is will become brothers). Demonstrators in the 250th anniversary of his birth and Chile sang the piece against Pinochet’s both cities had planned year-long events, dictatorship; Chinese students broadcast it Germany as many as 300 with a budget of at Tiananmen Square; Leonard Bernstein $30 million (over `220 crore). But all is not performed it at the fall of the Berlin Wall, lost for Beethoven lovers: festivities will and it was played in Japan to denote hope now start in December and go on for 250 after the 2011 tsunami. days, so ending in September 2021. Woke critics also say that the formal Nor is all lost for those who will use etiquette of Western classical music Beethoven for their 15 minutes of fame. concerts was imposed to show superiority Vox, an American news and views website, and exclusion. As it happens, this is of has a ‘Switched on Pop’ podcast whose stars more recent origin – it was only in the late are musicologist Nate Sloan and songwriter 19th century that Mahler as conductor Charlie Harding. In a recent piece titled (and to some extent, Schumann) brought ‘How Beethoven’s 5th Symphony put pointless telling them that if privileged in today’s convention of listening in the classism in classical music’ they say, white males made the rules for culture, it is silence, with applause only at the end of a ‘Wealthy white men embraced Beethoven because the whole of Western society was piece. During Beethoven’s time, cheering and turned his symphonies into a symbol like that, and PWMs made the rules for and clapping during a performance of their superiority and importance. For everything. In Beethoven’s time, women was common: in fact, at the premiere of others – women, LGBTQ+, people of were subjugated (as this column examined Beethoven’s Seventh Symphony, there was colour – Beethoven’s symphony (the last month), people of colour were second- so much applause at the end of the second Fifth) is predominantly a reminder of class citizens at best, and the concept of movement that the orchestra immediately classical music’s history of exclusion and gender fluidity was largely unknown. played it again. elitism… Maybe it’s time we break up with What did Beethoven have to do with all A report of the premiere of the Ninth Beethoven once and for all.’ this? Or, particularly, his Fifth Symphony? is touching and happy at the same time. Cancel Beethoven? One could dismiss One suspects that this particular Beethoven, completely deaf by then, this as the latest stunt of publicity-seeking work was chosen because of its universal insisted on conducting the orchestra, but posturers, except for several reasons: popularity: its opening notes, Da-Da- his earlier rehearsal had been disastrous, They are both professionals in their field; Da-Dumm, have been recognisable so Louis Duport stood at the conductor’s they are both white males; their views everywhere through all these years; in podium while Beethoven stood in front were broadcast on an influential platform fact, their rhythmic pattern is duplicated of him. According to a member of the which is associated with the New York in the Morse Code notation for the orchestra, Beethoven “threw himself Philharmonic; and most important of letter V, and was used by the BBC in its back and forth like a madman, stretching, all, this is not an isolated case, but just broadcast to Occupied Europe during crouching, flailing his hands and feet as another example of the woke madness World War II to signify V for Victory. if he wanted to play all the instruments that has infiltrated the world of history The apt word for the Fifth is that it is and sing all the chorus parts.” When and culture through the strident, joyless ingrained in today’s culture. In fact, as the symphony ended, Beethoven was ideologues of the Left who are toppling Maddy Roberts of Classic FM says, “The several beats off and was still conducting. statues and ‘cancelling’ even Shakespeare tense struggle of the opening, the endless Caroline Unger, the contralto, gently took and Aristotle. switching between minor and major, and Beethoven’s arm and turned him around Fanatics on the Left and the Right the final moment of triumph is relatable to face the audience. The packed hall went have one thing in common: they are to today’s brave new world.” wild with applause, raising their hands, so convinced of the righteousness (or To make Beethoven a symbol of throwing their hats and handkerchiefs in lefteousness) of their cause that they privilege and exclusion is particularly the air so that the composer could see what take leave of their common sense. So it’s idiotic because ‘Ode to Joy’, the Friedrich he could not hear. shutterstock

6 • October 2020 NCPA

COVER STORY

Despite the stillness on its stages, much has transpired at the NCPA in the last six months. The momentum has shifted to the digital realm with plans afoot to excel in it but there is nothing quite like the THE joy of watching a live performance. And when the norms allow that, the centre will be ready to welcome you back in the safest way possible – for the theatres await you. LOCKDOWN By Snigdha Hasan KALE P. NAYAN In adherence to government guidelines, the NCPA has been functioning with the presence of a limited number of employees. Seen here: the NCPA’s Theatre & Film head and technical team who reside on campus, and security, housekeeping, fire safety, canteen and STORY administrative staff

8 • October 2020 NCPA NCPA October 2020 • 9 A talk by international dance producer Farooq Chaudhry on going beyond traditional n mid-March, as the April issue of the ON Stage online and like the rest of the world, discovered Zoom dance models Musicians of the SOI, helmed by Music Director Marat was being put to bed, the NCPA management for regular stocktaking, decision-making, firefighting, Bisengaliev, present a piece online held a series of urgent meetings on a weekend strategy-planning and curatorial and editorial meetings to take a call on a matter which, within less with the Chairman, senior management, genre heads, than a week’s time, had taken precedence technical experts, advisors and musicians weighing in over concerns that usually feature among the from their respective locations across Mumbai, India prioritiesI of a performing arts centre. The World Health and the world. Organization had declared the coronavirus outbreak a pandemic and in a congested city like Mumbai, which A HUB OF ACTIVITY was already becoming a hotbed of infection, the Within a week or fortnight of each other, theatres and management knew it had to move swiftly to ensure concert halls in the U.K., U.S., Russia, Australia, Japan, the safety of its employees, artistes and audience. Singapore, India and other parts of Asia and Europe had On 16th March, a week before the government closed their doors to the audience as social-distancing announced nationwide lockdown, the NCPA closed norms came to replace the experience of consuming its theatres and office, cancelled/postponed all shows art in the company of fellow music, dance or theatre scheduled for the second half of March, and April lovers. The intrinsic resilience and malleability of the and May (who knew back then that the virus was not performing arts, however, soon paved the way for planning to go away even in October?), set in motion transition to the digital medium the world over, and on the process of online refunds, made arrangements for 3rd April, the YouTube broadcast series NCPA@home Much like the familiar faces “WHILE THE DIGITAL in which the NCPA would employees to work from home, moved its operations was launched. A showcase of archival recordings in the audience that NCPA bring back audiences to from the Indian music, patrons are accustomed to MEDIUM HAS GREATLY theatres. “We are looking at dance and jazz genres, seeing, these virtual weekend HELPED PEOPLE KEEP the best available technology those of concerts by the mehfils developed their own for routine air change Symphony Orchestra following too. UP THEIR CULTURAL including HEPA filters and of India (SOI) and Innovation in online ENGAGEMENT UNDER UV disinfectants,” informs Mr. stimulating discussions offerings from the NCPA is Suntook, adding, “Our outdoor from Literature Live!, an ongoing process. In the LOCKDOWN, THEY spaces lend themselves to the annual literature absence of classroom lessons, CANNOT WAIT TO RETURN well-aired, socially distanced festival hosted by the the SOI Music Academy has seating arrangement where NCPA, the series opened shifted gears and switched TO THE THEATRES” the audience members can up the universe of the to online teaching (see page enjoy a show with earpods on organisation’s offerings 57) while education and outreach programmes which will help us ensure their safety while staying to not only members undertaken by different genres have moved online within permissible decibel levels.” and patrons but also to too. Workshops by renowned artistes and other As the English National Opera returns to live an entirely new audience experts in the performing arts are routinely organised performances through drive-in concerts, it has been in diverse geographies. on the NCPA’s social media pages even as curatorial drawing on the expertise of Richard Nowell, technical Insightful introductory work for digital recording and socially distanced consultant to the NCPA among other international videos and the option viewing at the NCPA is underway. For more details organisations, to ensure that the audience members A Zoom meeting in process. From top left: Behram Sethna, Snigdha Hasan, Brinda Khatau, of live interaction with on work accomplished by each genre and the way can enjoy the sound quality as they would in a concert Nandita Anjaria, Khushroo N. Suntook, Pallavi Sahney Sharma, Dr. Suvarnalata Rao, Vincent artistes at the time of forward, please refer to page 13. hall. Similar techniques could be replicated here Dsouza, Xerxes F. Unvala, Prashant Karkare, Nayan P. Kale, Siddharth Deshpande, Farrahnaz Irani, Richard Nowell, Gian Ganzarolli, Sankalp Meshram, Swapnokalpa Dasgupta and Bruce Guthrie broadcast added to The NCPA continues to evolve its digital content too. The NCPA has also been closely observing the audience engagement. policy. Read more about how it has been envisioned to reopening process of the Bolshoi Theatre and other showcase archival treasures as well as newly recorded international venues. programmes shot at the theatres in an article on All these measures will be put in place apart from Song of the Himalayas by Shantanu Moitra featuring Ani Choying, page 15 by noted filmmaker and Consultant Creative regular deep-cleaning of the venues and availability Kaushiki Chakraborty, and others Producer at the NCPA, Sankalp Meshram. of sanitisers and good-quality masks for the staff and was part of the NCPA@Home series audience members. A SAFE RETURN The restaurants at the NCPA are currently closed At a recent international conference attended by for refurbishing. heads of the Metropolitan Opera, the Barbican, the NCPA, and theatres and opera houses in Covent RESIDENTS OF THE NCPA Garden, there was unanimous agreement over one Homes turned into offices and work shifted online almost fact. “While the digital medium has greatly helped overnight, but the technical department of a performing people keep up their cultural engagement under arts centre is a critical area of operation that requires lockdown, they cannot wait to return to the theatres,” physical presence. Nayan P. Kale, General Manager - says Mr. Khushroo N. Suntook, Chairman, NCPA. Technical, resides in the NCPA premises for this very The reopening of theatres will be in adherence to reason and every show staged here in the past several government guidelines when it is deemed safe to do decades has sounded just right and been aesthetically so. In the meantime, work has begun on the manner lit, thanks to the team under his supervision.

10 • October 2020 NCPA NCPA October 2020 • 11 Here and below: Dr. Jamshed IN TIMES OF Bhabha’s 106th birth anniversary was observed at the Jamshed UNCERTAINTY, IT IS Bhabha Theatre on 21st August THE CARE, CONCERN AND EMPATHY EXTENDED BY THE TOP MANAGEMENT THAT HAS KEPT UP THE SPIRITS OF MEMBERS OF THE NCPA FAMILY

Under lockdown, the nature of technical work acquired new dimensions. Remote access to common drives and computer systems had to be given to staff members with unique requirements from various departments. The NCPA@home series entailed editing and uploading of videos retrieved from the archives, through constant coordination with the genre heads over emails and phone calls. Even in the absence of performances, all pieces of equipment have had to be kept operational by periodically running them. Vaults that store rare archival audio, video and film recordings and photographic material are being maintained at internationally recommended temperature and relative humidity levels. The upkeep of servers and communication systems is being done routinely while new work in the heating, ventilation and air-conditioning systems and civil infrastructure restoration, which got stalled due to the lockdown, has resumed or will be on track soon. the next best alternative. Thus began the process of This, apart from the setting up of new editing studios e-publishing, such that copies of the magazine could be for the NCPA’s digital content. accessed on the phone, tablet and computer. With the light and sound equipment in excellent shape As houses of culture the world over made their and the stages well serviced for artistes, the NCPA is content accessible online, dedicated sections and other all set to host performances whenever the situation articles in the ON Stage came embedded with web links becomes conducive. As Mr. Kale puts it, “If somebody to these treasure troves so they were only a click or tap were to tell me, ‘I want to present a show tomorrow’, we away. For book lovers who had finally found time to are ready!” indulge their interest like never before, the genre heads All other departments of the NCPA have worked of the NCPA added their own recommendations for remotely to ensure smooth functioning in their essential reading in the performing arts. respective areas, detailing which calls for another Even as renowned artistes reflected on the pandemic article. In times of uncertainty, it is the care, concern and its implications in their articles for the magazine, and empathy extended by the top management that a new series called The Performing Arts Dispatch was has kept up the spirits of members of the NCPA family. introduced as a window to international venues, their Performing arts centres the world over are reeling legacy and how they are coping with this upheaval. under the economic implications of the lockdown, but Topical photo essays – from snapshots of a city under the NCPA has been a safe haven; protecting the well- lockdown to a flooded Mumbai – regularly made their being and employment of its executives and staff being way to the pages of the ON Stage. among its foremost concerns. However, just like there is no substitute for a live performance, there is none for the feel of holding a BACK IN PRINT magazine in your hand. Now that the press has warmed Meanwhile, the April 2020 issue did go to press but up again and the distribution systems put in place, we could not come out of it – by the time it was ready to be will bring you select stories from the last six digital shipped, the lockdown had been imposed. As copies of issues while continuing to feature articles on the latest the issue gathered dust in the press, it became apparent from the NCPA and those of enduring value from the

that taking the digital route for the coming months was world of culture as we always have. PORUS DUBASH

12 • October 2020 NCPA INITIATIVE

“On International Dance Day in students’ concert, which would have April, we began our journey in digital originally taken place in April, had to be workshops with exponent Aditi cancelled. Agility to Meet Challenges Mangaldas. Since then, we’ve been Members of the SOI have made some fortunate to have been instrumental at-home recordings which have been In the absence of live performances, the NCPA management shows the way by adapting to the situation in featuring many artistes for their released on our social media channels. In and moving the organisation’s curatorial, educational and outreach work to the digital platform with first Facebook live event. Noted addition, musicians have been preparing plans afoot for opening up its offerings to audiences the world over. The Chairman, genre heads and contemporary artiste Sumeet Nagdev repertoire for future SOI concerts once conducted an Instagram live for Jai live performances can resume. senior creatives shed more light on the way forward. Hind College on behalf of us. In June, We are also exploring putting online the online version of NCPA Utkarsh, past talks and lectures that Zane Dalal, a live lecture/lecture-demonstration Associate Music Director of the SOI, has platform with renowned artistes, conducted, as well as curating new talks was launched. Dr. Sandhya Purecha, to go on our online channels (either live Ashley Lobo, Farooq Chaudhry and or pre-recorded). Anita Ratnam have been part of the Since the SOI’s Music Director and series. other vital consultants and advisors are abroad, constant Recently we have started online dance classes for interaction through the electronic media keeps us up to date underprivileged children of Vikhroli Vidyalaya and with the situation and hence in the programming process.” hearing-impaired children of EAR. This is besides NCPA Xerxes F. Unvala, General Manager – SOI & Western Nrityaparichay, an initiative to spread the joy of movement Classical Music through dance in schools across Mumbai and Greater Mumbai, which has now moved online. The sessions have “The NCPA Theatre & Film department is preparing for been specially adapted to suit the requirements of an online the day when we can welcome audiences back to our spaces. class where physical correction is not possible and feedback We are looking at a number of performances suitable for is much slower. In the coming months, with tighter control outdoor spaces as well as socially distanced productions in on the lesson plan, we plan to start classical dance training our theatres. as well. We are also working on our new digital strategy aimed at The future lies in further developing audiences for dance capturing productions of the highest quality with a view to forms and one of the primary focus areas would be educational moving online. The team has hosted a number of online talks initiatives. The revenue would be rolled back into the system and workshops for young practitioners and looks forward in support of reviving dance forms that need support.” to doing more in the coming months to further engage with Swapnokalpa Dasgupta, Head – Programming (Dance) young people and the theatre community across the country.” Bruce Guthrie, Head of Theatre & Films “The recent situation has seen the performing arts scene severely The international connections built over the years in the sphere of “Under the educational initiatives of International Music, affected. Yet, the NCPA so far has been a haven of tranquility; and culture are assisting the NCPA in putting in place various means Let’s Talk Jazz is an ongoing weekly series to introduce lay “The COVID-19 situation (which has created a short pause in the best Tata tradition, has protected the safety and employment of dissemination of its treasures. With the full support of these listeners to jazz to help them broaden their tastes. The sessions for us) has allowed us a unique opportunity towards extending of its executives and staff. connections and the senior management, here are proposals that cover a description of jazz, legends to follow, the contemporary the scope of the NCPA’s interaction with the world. Our remit The pandemic may not bring back audiences to our theatres the heads have put forward for their respective genres to adapt to scene and jazz in India. The series for the month of August was is to re-imagine the NCPA not only as a physical space for the soon, and not allow us to realise income from the output that the situation in the absence of performances before a live audience: conducted by veteran journalist and jazz aficionado Narendra performing and allied arts, but also as a major presence on the our theatres so far contributed to our sustenance. I felt that a Kusnur. internet via online presentations. We are discussing the best new path to augment our visibility and income would be through “After considerable success of Indian music offerings on the Among the curatorial plans afoot are those for The Secret method to do so – looking at various online platform options concentrating on as early as possible a creative and technological NCPA@home digital initiative, we have now shortlisted a Garden, a blend of some of the most powerhouse artistes and new technologies that we can use towards this end. The management and marketing input which would not only examine few videos from our archives of the iconic performances held of the Indian music fraternity presented in an exclusive overall plan is to extend the idea of the NCPA, so that the the treasures in the sound and video content of the archives, during the past decade. We are looking at packaging and environment in the NCPA in the coming months; Local Jazz connoisseurs and patrons of culture from all over the world technically improve the quality and dress them so that they are putting them on a suitable platform subsequently. Festival, a festival showcasing Indian jazz artistes within the can enjoy these performances. marketable, but also vigorously follow up to fulfil their potential. We also plan to virtually present our annual festival city; what was the NCPA Internal Jazz Festival is now the We have with us a veritable treasure chest of archival (The first step has been taken already.) Bandish that showcases some of the most treasured works of NCPA International Jazz Season, where audiences can expect material, both video and audio. These materials can possibly Also, since it would be possible to organise recordings of our great composers presented by eminent artistes, which was due Grammy winners and stalwarts in the international jazz be remastered, upgraded, sorted, evaluated, curated and great artistes on the stages of our theatres, the end result should be in August 2020. We hope to video record the performances fraternity. Originally programmed for November 2020, it has selected for our online presentations. We are also hoping to of marketable quality. at our venue during October/November and present them for been tentatively moved to March 2021 due to the pandemic. be able to develop state-of-the-art, in-house post-production Similarly, the revamping of our mode of operation will be viewing. We intend to showcase two jazz festivals in 2021: one in capacities (pending cost viability), to carry out these based on the changed scenario and on an accent on maximising On 12th September, we organised an online workshop on March and the other in November.” mammoth tasks. Within the strict limitations of current the stream of income from every genre, who have expressed using digital platforms by Keerthi Kumar titled ‘Convergence: Farrahnaz Irani, General Manager – International governmental guidelines, we are also looking to record their entrepreneurial initiatives, but who will have to bear the Digital Space and the Performing Arts’, for performing Music new programmes regularly – in a more professional and additional burden to protect our institution from becoming artistes/organisations. Another workshop by Dr. Sangeeta attractive manner.” seriously damaged. Kamath on mental health in the times of the coronavirus is “All lessons of the SOI Music Academy have continued Sankalp Meshram, Consultant Creative Producer Several other initiatives to make our centre a welcoming area slated for 10th October. online over video conferencing, for both one-on-one are being examined. We will therefore revisit our budgets, and Under our CSR activities, the Guru-shishya training, instrument lessons and group lessons such as solfeggio. When *All events will be organised in strict adherence to the after scrutiny present it for approval. This is for the overall benefit scholarships and the music for schools initiative are being we are able to record new performances, we hope to be able government guidelines on the reopening of theatres and social of our organisation.” conducted online.” to record with the SOI Academy Orchestra since our annual distancing. Khushroo N. Suntook, Chairman Dr. Suvarnalata Rao, Programming Head – Indian Music

NCPA October 2020 • 13 14 • October 2020 NCPA INITIATIVE LOOKING AHEAD From showcasing great archival treasures to presenting newly recorded programmes, the NCPA’s digital content policy is one envisioned for times beyond the pandemic and for audiences the world over. By Sankalp Meshram

In her book Atlas Shrugged, Ayn Rand had written metaphorically about stopping the motor of the world. Well, in 2020, it really happened. The COVID-19 pandemic seized the economic and social engine and the ginormous motor of the world stopped. One tiny microscopic virus had managed to bring the whole world to a standstill. At the NCPA, the response to the pandemic was as per the government guidelines and we continue to follow them. But while our theatres are closed and we are allowed only a low percentage of staff at our offices, we are all quite busy at work. Every adversity brings with it many new opportunities and we have welcomed those with open arms. One major development through our discussions and confabulations is the policy decision to go ahead with the augmentation of our digital presence on the internet. Spearheaded by our Chairman Mr. Khushroo N. Suntook, this new digital content policy is aimed at expanding the NCPA’s reach.

The veritable treasure chest of video archival records – of the greatest performances held at the NCPA from the last 50 years – will now be available to anyone in the There will also be live-streaming of new shows – either world with an internet connection exclusively webcast or co-experienced with the spectators at the NCPA. People from all over the world will now have a chance to taste the entire range of cultural fare we have The idea is to present online, through our website, the great on offer – live. riches that are lying in the vaults of the NCPA. The veritable We are envisioning an exciting website with a treasure chest of video archival records – of the greatest combination of old, new and live content, which will cater performances held at the NCPA from the last 50 years – will to all kinds of cultural connoisseurs and will hopefully now be available to anyone in the world with an internet have something for everyone. connection. We are planning to spruce up the old videos with We are also developing in-house infrastructure for insightful video introductions, video remastering, colour- image acquisition and post-production – to optimise the correction, audio remixing and new packaging. production process. Along with this archival material, there will be The most important aspect of the new digital policy, as contemporary new videos on our website. Programmes, underlined by Mr. Suntook, is that the digital initiative featuring all manner of artistes, freshly recorded at the will continue even after the pandemic is over. Even after NCPA – without audiences. These recordings will be shot people return to the theatres and life returns to the old with the latest cameras and top technicians to present the normal, the NCPA will continue to be present online as performances in a professional format. The new programmes much as it will be a place for patrons to physically come will be created by all our genres – Western Classical Music, and enjoy great performances as they always have. Indian Music, Dance, Theatre, International Music. Our shutterstock genre heads have already made a calendar of new programmes which are being queued up as we speak. Sankalp Meshram is Consultant Creative Producer, NCPA.

NCPA October 2020 • 15 HARMONY Josef Hassid: The Forgotten Genius The first half of the 20th century bears testimony to the tragically ephemeral career of the Polish violinist whose virtuosity belied his age. Cavas Bilimoria

“Full many a flower is born to blush unseen competitors in the very first and prestigious Henryk and waste its sweetness on the desert air” Wieniawski Violin Competition held in Warsaw - Gray’s Elegy (nowadays held in Poznan) in 1935. He had a memory lapse – perhaps a harbinger of things to come – Most teenage prodigies are soon forgotten, but the which did not detract from the beauty of his playing legend of Josef Hassid persists partly because of and hence was awarded an honorary diploma. The his astounding virtuosity, and partly because of his first prize went to Ginette Neveu and the second to tragic early death. Born Joseph Chasyd, but known David Oistrakh. professionally as Josef Hassid, on 28th December Later, the great Polish violinist and founder of the 1923 in the Polish border town of Suwałki, there has, Israel Philharmonic Orchestra, Bronisław Huberman, in the opinion of many, never been a violinist quite arranged for Hassid to study under the foremost like him. teacher of his time, Carl Flesch, at Spa in Belgium.

During the period of study with Carl Flesch, many of the world’s leading violinists, including Fritz Kreisler, Jacques Thibaud and Joseph Szigeti, who heard him were astounded at Hassid’s { superhuman command over the violin }

A musical prodigy When, after a few months, Flesch moved to London, After the death of his mother when he was still an he invited Hassid to continue his studies with him infant, he was brought up by his father Owseij Chasyd there. Flesch concentrated on shaping Hassid’s who nurtured his extraordinary gift. Having started musical and interpretative development since on the his violin studies with a local teacher who very technical level the young violinist needed nothing quickly had nothing left to teach him, he entered the more to learn. Indeed, Flesch in his memoirs wrote, Chopin School of Music in Warsaw at the age of 10. “Hassid was no doubt one of the strongest violin Shortly thereafter, he became one of the youngest talents of his time.” LABEL: EMI RECORDS ‎– LTD. EH 29 12301; SERIES: THE HMV TREASURY

16 • October 2020 NCPA During this period of intensive study with Flesch, made under Flesch’s guidance. many of the world’s leading violinists, including A year later, in 1940, he recorded eight short pieces Fritz Kreisler, Jacques Thibaud and Joseph Szigeti, with that doyen of accompanists Gerald Moore, one who heard him were astounded at his superhuman of which was again La Capricieuse. While the earlier command over the instrument and deep musicality recording (September 1939) was phenomenal, the in one so young. Kreisler opined that “A fiddler like second one with Moore is electrifying. Heifetz is born every 100 years, one like Hassid once every 200 years.” Kreisler lent him his magnificent Here are the eight pieces recorded with Moore:- Jean-Baptiste Vuillaume violin of 1860 not only for Elgar: La Capricieuse the eight pieces Hassid has recorded but also for the Tchaikovsky: Mélodie (Souvenir d’un lieu cher) remainder of his tragically short career. Massenet: “Méditation” from Thaïs A few weeks later, in the spring of 1940, Hassid Dvořák (arr. Kreisler): Humoreske was presented in a solo debut at Wigmore Hall and a Sarasate: Spanish dance “Playera” concert debut at Queen’s Hall during which he suffered Sarasate: Spanish dance “Zapateado” another memory lapse while playing the Tchaikovsky Joseph Achron: Hebrew Melody violin concerto. Kreisler: Caprice Viennois Shortly thereafter, Hassid began to record. But alas, before the end of what should have been a A transcendental legacy momentous year, he became seriously ill, falling prey It is illuminating to read what Moore, talking to the to further bouts of memory loss, becoming sullen and Gramophone magazine in its April 1973 issue, had to withdrawn and turning against his father, his violin say about Hassid, “Then there was Josef Hassid, the and his religion. Acute schizophrenia was diagnosed. greatest instrumental genius I have ever partnered. I During a considerable spell in hospital where he was don’t know how to explain his incandescence. He had subjected to insulin treatment and electric shocks, technical perfection, marvellous intonation, glorious his father died of cancer which worsened Hassid’s tone – but there was something above that which was condition. As a last-ditch effort, delicate brain surgery quite incredible – a metaphysical quality.” (lobotomy) was tried but meningitis set in and on 7th The recordings have of course been transferred on November 1950, Hassid was no more. the vinyl LPs and also on CDs. What do they reveal?

The moment Hassid puts bow to string, the ear is beguiled by a captivating and uniquely individual sound, a peerless technique and an arresting and frequently original { interpretative approach }

The recordings The moment Hassid puts bow to string, the ear is During the period since his premature death, the beguiled by a captivating and uniquely individual few facts which survive have become confused and sound, a peerless technique and an arresting and even contradictory. Ida Haendel, a fellow student in frequently original interpretative approach. Listen to Flesch’s class, throws valuable light on some of these his staccatos in La Capricieuse – like pearls set upon in her book Woman with Violin. But all controversy a string, or again to the entrancing double stops in can be effectively put to rest by the irrefutable and Caprice Viennois, or even to the deeply felt eloquence inviolate evidence by way of just eight miraculous in Achron’s Hebrew Melody with its incredibly rapid sides of the 78 rpm records on which eight short yet perfectly articulated runs and lightning trills. If that pieces were recorded. Before these were made, and is not enough, listen to the “Méditation” from Thaïs aware of the stories doing the rounds of Hassid’s where the inner struggle of the courtesan yearning exceptional talent, the Gramophone Company, with to be free after Athaneil’s exhortations are so vividly the blessings of Hassid’s agent Harold Holt, arranged painted in sound. Or yet again to “Playera” with a for a special “test recording” to be made of Elgar’s magnificent sense of rhythm and timing along with a La Capricieuse with Ivor Newton at the piano. It was rich velvety lower register tone which is irresistible or such a success that it was suggested that Hassid even his ever popular “Zapateado” with its propulsive should immediately embark on a series of recordings dash and pristine harmonics which rival Heifetz. and public appearances. He was just 15 years old. But As long as these precious few recordings exist and Holt resisted, suggesting that Hassid continue his are listened to and appreciated by music lovers the studies with Flesch for some months more – an astute world over, we can reassure ourselves that Hassid has decision in view of the phenomenal advance Hassid not quite disappeared from our midst after all.

18 • October 2020 NCPA CONNECTIONS The Performing Arts Dispatch A series on performing arts venues from around the world. In focus this month: The Bolshoi Theatre

Deeply enmeshed as the arts may be in the life of a nation, few symbols of culture manage to symbolise a nation itself. The Bolshoi Theatre is that formidable badge of excellence that Russia wears with pride. The 244-year-old home to ballet and opera has been a bearer of the performing arts traditions of the country, celebrating them, nurturing them and taking them to the rest of the world, while bringing the best from the world back to its art-loving audience. Such legends as Anna Pavlova, Maya Plisetskaya, Vaslav Nijinsky, Mikhail Baryshnikov and Galina Ulanova have been associated with the Bolshoi Ballet company for all or a part of their career while many renowned companies the world over owe their ‘seed capital’ to the A scene from Don Carlo at the 245th Season Opening of the Bolshoi Theatre Bolshoi. The historic stages of the theatre have hosted premieres of Tchaikovsky’s hindsight, considering performing arts pieces and their premiere took place on operas The Voyevoda and Mazeppa and his centres the world over are now looking 10th and 11th September. ballet Swan Lake, Rachmaninoff’s operas at recording performances? Our audience now has to wear gloves Aleko and Francesca da Rimini, and Marius Thanks to our 10-year collaboration with and masks and is strongly suggested to Petipa’s production of Don Quixote, among Pathé Live and Bel Air Media, we have maintain social distance. Temperatures several other memorable performances. streamed our ballet shows worldwide in are measured at the entrance and In its history spanning two and a cinemas [including at the NCPA] and each Bolshoi floor is equipped with all half centuries, the Bolshoi Theatre has have recordings of high quality (that necessary facilities so audience members risen like a phoenix from major fires and include some of our opera productions do not have to mingle much. In Don Carlo, witnessed several political upheavals. recorded for television channels like we brought down the number of intervals But as with other centres of culture, a six- Mezzo) which we have been able to share from three to one and in our buffet, we month hiatus enforced by a virus, whose with our spectators during the pandemic are serving a rather limited number of threat still looms large, has been a unique – and to our mind, that is a great beverages and snacks in disposable dishes. challenge that cost the Bolshoi more opportunity to be with wide audience all Of course, we cannot go full house – the than $13 million. It reopened last month, over the world. Surely, it cannot replace box capacity has been reduced to half being among the first iconic venues to the experience of going to the theatre and in the stalls, after every two seats, do so in the wake of the pandemic. Since but it still allows the audience to enjoy one is kept empty. The advanced this interview with Katerina Novikova, Bolshoi art, to meet our artistes and to ventilation system on our Historic Stage Head of the Press Department at the get to know our productions. is helpful. For the orchestra, we have Bolshoi Theatre, the final performance What kind of preparations had to be brought in new reading stands with plastic of Verdi’s Don Carlo has had to be made for the Bolshoi Theatre to reopen? screens. The screens are also being used cancelled on account of international The Bolshoi management planned for wind instruments. bass Ildar Abdrazakov testing positive for the repertoire very carefully keeping What are some of the key COVID-19 in a preliminary test – a sign the majority of premieres for after learnings during this period that will perhaps of the way performance schedules New Year time in the hope that the continue to guide the functioning of will have to be altered to adapt to the pandemic measures would be more or the Bolshoi Theatre later too? dynamic situation. less over by then. For practical reasons, we hope to return Novikova tells us more about how The Bolshoi Theatre opened its to normal life but emotionally, we have the Bolshoi moved online during the 245th season on 6th September with a all understood how vulnerable and lockdown and is treading with caution as production of Don Carlo, featuring great unpredictable life is and we cherish our it welcomes audiences back. singers of our time Anna Netrebko, Ildar chance to be with each other and create The Bolshoi Theatre was among the Abdarazakov as well as Yusif Eivazof, together even more. Theatre is a very first organisations to go online with Elchin Azizov and Agunda Kulaeva, special form of art – you really have to be its weekly streams. How do you view which was truly exciting. The Bolshoi together to create work.

Live Cinema Relays/screenings in Ballet, meanwhile, prepared four new - Snigdha Hasan DAMIR YUSUPOV

NCPA October 2020 • 19 HISTORY

The beginnings of royal Mian Ki Malhar, among others and composed several dhrupads on patronage Ganesha, Shiva, Parvati and Rama. It is telling that many gharanas Keepers of the Arts As civilisations started developing into clusters, with a structure of present-day Hindustani classical music trace their origins to and hierarchy based primarily on economic rules, religious Tansen. Akbar also patronised talents like Sikh Guru Ram Das Historically, the credit for keeping the performing arts thriving in India has rested centres and rulers were looked upon to provide much-needed and the poet and musician Surdas and is credited for ushering the with royal patronage. Times have changed but even today, the arts share a symbiotic sustenance to the performing arts, which were regarded as niche golden era of Kathak during his regime. pursuits. Genuine love for the arts, or the political wisdom to be The generally vilified Aurangzeb, an ace player of the veena, relationship with connoisseur patrons who strive to keep culture alive through their seen as a compassionate and multifaceted ruler who showed equal supported the arts for the first decade of his regime. The 18th- munificence. By Reshma O. Pathare appreciation of art, culture, beauty and spirituality, prompted many century Mughal emperor Muhammad Shah II, also called Rangila royals to support the performing arts through the centuries. They meaning ‘colourful’, was known to have composed many khayals hosted talented musicians and dancers in their courts, ‘employing’ but more so, his rule saw forms like ghazals and instruments like performers on a permanent basis, while also inviting artistes from the tabla and sitar becoming popular. Wajid Ali Shah, the last king other regions and thus bringing about a meaningful cross-cultural of Awadh and a great connoisseur of music, was responsible for exchange. Handsome rewards, salaries and retainers were paid to reviving the guru-shishya tradition. Maratha rulers of Thanjavur these performers and buoyed by this financial support, artistes were known to support music and dance forms, as were the started coming forth to learn, teach and experiment with their Peshwas, who promoted classical music and folk arts. Warrior chosen form of the arts. princes of Rajasthan provided lavish support to culture leading to The earliest references to royal patronage development of classical gharanas, even as the received by the performing arts go as far Gaekwads of Baroda established the Gayan back as the 6th century, to the reign of king Shala, a first-of-its-kind school in India that Mahendravarman I of the Pallava dynasty. Akbar the Great, taught music, dance and drama, because the Raja Raja Chola I who ruled the Chola believed to have Maharaja (Sayajirao Gaekwad III) believed Dynasty in the 10th century was equally been an expert that the performing arts are the measuring erudite and contributed immensely to the nagara player and rod for understanding the depth of a nation. cause. In later centuries, the former capital skilled in the science Jayachamarajendra Wadiyar, the last ruler of the Chola Dynasty, Thanjavur, became of music, lent of the kingdom of Mysore, was not only a bastion of, among other forms, Carnatic generous support to a musician of exceptional brilliance, but music. Rulers like Raghunatha Nayak and vocalists and a patron of European classical music and Vijayraghava Nayak, themselves talented instrumentalists Carnatic music. The Maharaja of Mysore’s artistes, found it a matter of pride to support Musical Foundation made the recordings of musicians, composers and other artistes that rare works possible. (In honour of the great flourished in this culturally and agriculturally patron’s legacy – which was featured in a two- fertile region. The rulers would appoint part series in the June and July 2019 issues of artistes to their courts, ply them with valuable gifts, host large-scale ON Stage – the SOI Chamber Orchestra performed at the Mysore programmes for them and encourage further teaching and research and Bangalore palaces on his birth centenary last year.)

in their respective disciplines. Little wonder then that artistes As the British got entrenched in India around the 17th century from other regions also started flocking to Thanjavur. All this and royalty slowly began to dwindle, performers were left bereft

aworski collectively resulted in enriching Carnatic music and dance forms of patronage and had to start looking for other avenues of income. Z

an like Bharatanatyam. From the 17th century onwards, the realm of They started traversing the country in search of industrial and m

or music in Thanjavur evolved to encompasskirtanas , dance-dramas, mercantile patrons, who in turn started hosting performances N .

r varnams, ragamalikas and more. during festive occasions. Apart from that, a section of the D

of A concerted effort to document classical music concepts was intellectual elite started propagating Hindustani music as a part

t

if made in the 13th century, when King Singhana of the Yadava of the country’s cultural pride; in a way, rebelling against their , G t

r dynasty patronised Sarngadeva to write the Sanskrit text contemporaries who held derogatory ideas about women artistes, A Sangitratnakara (or ‘ocean of music’), which is considered one of in keeping with Victorian norms. In a bid to give Hindustani music of

m the first wholesome texts explaining the structure, forms, and logic a social and financial boost, these intellectuals established ‘music

useu behind ragas and talas. clubs’ that served to democratise public concerts and extend music M education to all societal strata. From the Parsi Gayan Uttejak Indelible royal imprints Mandali started by playwright Kaikhushro Kabraji in the late 19th

leveland The legendary ruler and brave warrior Akbar was also renowned as century and supported by luminaries like Dadabhai Naoroji, to C he

T a connoisseur of the arts. An omnist who gave equal importance others like the Poona Gayan Samaj (its Bombay branch established to Hinduism and Islam, Akbar, believed to have been an expert by Sir Mangaldas Nathoobhoy), The Albert Music Club, and the nagara player and skilled in the science of music, lent generous Shripad Sangit Shala among others, these clubs gave scope to support to vocalists and instrumentalists. Most famously, he gave music educationists like Vishnu Narayan Bhatkhande and Vishnu How does one quantify the enrichment gained out of listening capability to appreciate the value of culture, as history shows, has pride of place to the brilliant singer Tansen by giving him the title of Digambar Paluskar to impart training to budding artistes. to a singer who channels decades of riyaaz in one recital or of always rested with connoisseurs (from the French word connaître, to Mian and anointing him one of the Navratnas (nine jewels) of his Later in the 20th century, these ‘music circles’ enabled a new witnessing fingers take on a life of their own on the tabla? In profit know). Patronage of the arts has changed hands down the centuries; court. Under Akbar’s patronage, Tansen was able to achieve great breed of urban patrons who would seek membership and pay and loss parlance, where does the concept of feeding the soul fit? The what hasn’t changed is the connoisseurship of the patrons eminence – he created ragas like Darbari Todi and Rageshwari, entrance fees to be able to enjoy Hindustani music in concerts.

NCPA October 2020 • 21 20 • October 2020 NCPA A performance under the Music for Schools programme Zakir Hussain and Niladri Kumar at the ninth edition of Citi-NCPA Aadi Anant in December 2019 nurtures fresh talent and runs the ‘Music for Schools’ programme whereby students, especially from underprivileged schools, are provided opportunities to engage with music as well as perform on stage. Citi-NCPA Aadi Anant, the ninth edition of which was presented in December 2019, is a much-awaited Indian music festival. The bank also provides support to Indian musicians of the Symphony Orchestra of India through salaries, traineeships, etc. Over the years, patrons like L&T, Godrej Consumer Products Ltd. and Kotak Mahindra Bank have supported the NCPA’s Nrityaparichay, an initiative that imparts training in various dance forms to underprivileged children and provides them a platform to perform. HSBC has accorded patronage in myriad ways, including supporting festivals like Bandish, which pays tribute to legendary composers, and initiatives like ‘Guru In

Citi has been the first patron of the Symphony Orchestra of India

A masterclass on bandish by Ajoy Chakrabarty under Guru in Residence, supported by HSBC

The legacy of largesse continues When it comes to sustained patronage in contemporary times, it is heartening to see generous benefactors join hands with institutions like the NCPA to preserve and propagate the arts by providing instrumental financial support through donations, sponsorships and CSR funding. Running a performing arts centre on as large a scale as the NCPA’s requires substantial funds for world-class programming, educational initiatives, outreach programmes with disadvantaged communities, providing performance opportunities to up-and-coming artistes, while also raising awareness of the arts and nurturing newer audiences. There are other costs such as the A performance under Nrityaparichay maintenance of venues and technical infrastructure, and staff event marking 50 years of the NCPA. Residence’ that allows young musicians salaries. The NCPA receives funding from individual and corporate Patrons like Hikal, H.T. Parekh Foundation, Hearteningly so, to learn from veterans and the ‘Promising supporters who share a deep sense of the value of the performing Vinod and Saryu Doshi Foundation, SBI, L&T, even today we Artiste series’ that features performers Eliciting public interest to garner financial leverage for performers arts in society. While some of these funds are utilised for artistes’ M.K. Tata Trust and Rolex have provided have generous being trained by gurus while upholding turned out to be a sort of crowdfunding exercise initiated by these fees, advertising, publicity and branding collaterals, CSR funds are magnanimous monetary support and materials. benefactors who the traditional guru-shishya parampara. music circles. As the importance of culture in societal growth deployed towards teachers’ fees, scholarships, teaching materials, The centre has also been a recipient of generous join hands with HSBC also aids ancillary programmes became pronounced, the post-Independence Indian government cost of visits by the beneficiaries to attend performances, cost endowments from philanthropic institutions. institutions like and workshops to equip performers with also began patronising the performing arts and artistes, apart from of staging final performances and skill-building workshops Starting from the Dorabji Tata Trust that the NCPA to skills beyond their art, such as financial establishing dedicated cultural institutions. customised for careers in the performing arts. contributed ₹40 lakh towards building the preserve and planning, drafting legal contracts, etc. Crowdfunding, as we know it today, has become an In addition to founder Dr. Jamshed Bhabha’s own bequest centre, the NCPA has been fortunate to receive propagate the arts In the wake of the pandemic which unconventional but inclusive way for like-minded patrons to pool to his beloved NCPA and his wife Betty Irene Bhabha’s equally benefactions from the J. J. Bhabha Endowment has dealt a serious blow to artistes and in money via internet-based platforms. In India, the trend is on an unwavering support to the organisation, some of the NCPA’s Fund, Kilachand Devchand Foundation, ICICI performing arts centres the world over, upward curve. For instance, in 2016, danseuse Keerthana Ravi generous benefactors include the Tata Group, Tata Trusts, Siddharth Mehta Foundation, Adi Marazban the steadfast support of individual and was inspired by the crowdfunding success received by the theatre Citibank, HSBC, Kotak-Mahindra, N.M. Petit Charity Fund, Endowment Foundation, Pu La Deshpande Foundation, Firdaus corporate patrons is perhaps more critical than ever before festival Thespo and replicated the same for her dance fest Evam, Mastercard, Godrej Industries, Pirojsha Godrej Foundation, Talyarkhan Endowment Fund, Jasubhai Shah Endowment Fund, in recent history. It is the arts that have kept us buoyed up which served to not only get her funds, but also start a ripple of Sahachari Foundation, Jasubhai Foundation and Bhogilal Mariwala Foundation, Saroj Jhaveri Foundation, Kaivan Mistry in these grim times in the confines of our homes. And when interest among people. In 2017, Nepathya, a centre dedicated to Leherchand Foundation. The association between the NCPA Endowment Fund, Sahachari Foundation and Dr. Fredie A Mehta the pandemic is over or contained safely, music, dance and Kudiyattam, the only surviving form of Sanskrit theatre, sought and Tata Group predates the former’s inception, when J.R.D. Memorial Scholarship Fund. theatre will help us fathom, grapple with and put behind us the crowdfunding to help train a new generation of artistes. Platforms Tata provided strong backing to Dr. Bhabha’s vision to create an Citibank shares a decade-long relationship with the NCPA unprecedented circumstances that have come to define 2020. like Wishberry, HelpMeTry, Fueladream and Ketto are being inclusive space for the performing arts. Today, the Tata Group wherein they have undertaken a wide range of impactful CSR For like the wise Maharaja of Baroda believed, the performing increasingly used to raise funds for, among other things, a myriad and Tata Trusts remain munificent supporters of the Centre, activities, having supported the guru-shishya programme in arts are truly the measuring rod for understanding the depth of performing arts. having recently supported the ADD ART Festival, a landmark Indian music that provides music training and annual scholarships, of a nation.

22 • October 2020 NCPA NCPA October 2020 • 23 EXPRESSION

The Many Another day, a couple of years later, soon after power that the Ramayana I had performed in Bhuj, still holds over us, being Gujarat, a postcard aware of over 300 known Lives of arrived for me. Barely versions of it, knowing legible and written in that a blessing for newly pencil, it was from eight married brides was still, women thrown out of “Seeta jaisi banana”, Seeta their individual villages meaning jump into the fire for the shame of being if your husband says so, I In a new series on artistes’ gang-raped. They ranged thought telling her story reflections on dance in age from eight to from her point of view nearly 80 and they lived would be a good starting productions they have together in the outskirts point. And like my brave presented at the NCPA, of a village in Banni, in and outspoken Seeta, huts that were barely the daughters were other Mallika Sarabhai tells the there. They had heard of brave women, some real, story of her choreography the show. Would I come some morphed from that became an instrument of and perform in the open many case studies, who just for them? I went, my spoke up against injustice discussion on women’s rights five musicians and I. And and lies. and empowerment. in a deeply moving show The show was made that lasted three times its normal Seeta’s Daughters was compulsory viewing for SAARC length, I performed for them, under Supreme Court judges; for “Namaste, Mallikaji. Mera naam hai Bhanvari Devi.” I a tree. After every scene, their born from discussions magistrates in Maharashtra under looked at the woman from the audience stretching stories poured out. There were with feminist Sharad Pawar; and for thousands out her hands to me, gnarled, looking older than discussions. I was deeply humbled. of students of SNDT Women’s she must have been but with eyes that shone Seeta’s Daughters, created in organisations and friends University who needed to view a with truth. I held out my hands and then took 1990, has been performed over working for justice and video of it and write an analysis. her into my arms. “Karti rahna bahen. Bahut 500 times, in English, Gujarati and I had put the show to sleep in zaroori hai ladna.” Tears welled up in my eyes. Hindi. It was born from discussions equality for women in 2010. But audience members who Here was one of India’s bravest daughters, with feminist organisations and India, as a way to use remembered it vividly made me an uneducated, ‘low-caste’, village-level friends working for justice and revive it in 2014, for crimes against government saathin who had been gang- equality for women in India, as performance to empower women were on a furious rise, and raped in 1992, a year before our meeting. a way to use performance to and inform women about women, even educated women, She had stopped the marriage of a nine- empower and inform women about were still clueless about issues. month-old Gujjar girl, and five men their rights and to make them not their rights Now, Darpana’s Artistic Director, from the community had punished feel alone when made into victims Yadavan Chandran, and I are her for daring to oppose them. She or survivors. But it has been performed around the working on a totally new digital version of it, rethinking had refused to cow down to threats world. At the Smithsonian Institution’s white-collar it, reimagining it as a performance for a different and had sought the courts for fundraiser in Washington, D.C., at a time when medium. And we hope to find a way to go from live justice. And she was reacting to American lawyer Anita Hill had just accused Judge audiences to this new world, in a fashion both creative the scene in Seeta’s Daughters Clarence Thomas of rape. I contextualised the rape and exciting. that spoke of a village teacher scene with this reference. Wherever I went, all I had who, like her, refused to shut to do was to look at the newspapers that morning to Mallika Sarabhai, noted Bharatanatyam and Kuchipudi up and forget rape. find one of my scenes being relived. And that gave exponent, choreographer and activist, performed Seeta’s each performance the context. Daughters at the Experimental Theatre as part of the But why “Seeta’s Daughters”? Acknowledging the NCPA August Dance Residency in 2015.

24 • October 2020 NCPA NCPA October 2020 • 25 MELODY

ver the past decade, the term ‘Americana’ Country music also had its roots in Cajun music, has become increasingly popular as besides sounds from the Appalachian mountain a description of the contemporary region. It was essentially performed by the working amalgam of various American styles class white community. Soul and rhythm ’n’ blues like jazz, blues, country, folk and soul. find their roots in gospel spiritual music, though the OEarlier, similar music was branded under the name song subjects moved from religious to romantic or Roots of the ‘roots music’. protest over the years. Besides these, there were These are modern categorisations, but the U.S. has traditional forms of Mexican, Cuban, Hawaiian and had various forms of traditional music since before East European Jewish origins. the 20th century commenced. While many are aware Indeed, American music has a rather rich history, that the blues, jazz, country and soul are originally and as simple as terms like ‘roots music’ and American forms, these genres themselves evolved ‘Americana’ sound, the truth is that the music is far Matter from other styles. more complex. Let us look at some of the traditional forms which led to genres we are A musical melting pot more familiar with. Each style Much like the country in which In the late 19th century, ragtime American music had its own set of instruments. and boogie-woogie were it evolved, American roots popular, and combined with the has a rather rich  Ragtime: This form evolved in music is as dynamic and blues and spirituals, they led history, and as the 1890s, and its basic feature eclectic as the multitude of to the creation of traditional was its syncopated (disturbed) jazz. Modern blues itself was simple as terms or ragged rhythm. Composer cultural groups it represents. derived from Cajun, ragtime Scott Joplin was most commonly and boogie-woogie, which like ‘roots music’ associated with it, and the BY NARENDRA KUSNUR existed in a smaller way right rhythms used made their way up to the 1940s. Both the blues and ‘Americana’ into early jazz. In fact, pianist and jazz were the creation of Jelly Roll Morton, considered African-Americans settled in sound, the truth is one of the pioneers of jazz, was the southern part of the U.S., heavily influenced by ragtime. and were, in a small manner, that the music is Instruments typically used influenced by religious music were the piano, guitar, banjo and South American sounds. far more complex and drums. Originating in the

Cajun music, to which the The acoustic guitar is diatonic button accordion ubiquitous in the history of is essential, is meant to be evolution of nearly all forms danced to no matter what of American music the tempo As ragtime became immensely popular,  Appalachian music and hillbilly: This form grew a huge influence on country and salsa music, a dance drummers were able to improvise in ways that among the white community staying in the regions genre that became popular in New York in the 1960s. would greatly influence around the Appalachian mountains, spread across Conjunto blended Mexican styles with certain forms American music Virginia, West Virginia, Kentucky and North Carolina. of European folk music. Instruments used were the Since the musicians came from the hills, they were button accordion, the Mexican stringed instrument given the name ‘hillbillies’ and the name got extended bajo sexto, the bass and drums. Some of the early to the genre too. Bluegrass, folk and modern country pioneers were Narciso Martínez and Don Jimenez. music were rooted in this form. This music was actually The other form was Tejano music, which blended derived from English, Scottish and Irish ballads, with Mexican mariachi and American music with Czech, the addition of some Afro-American acoustic blues German and Polish polkas and waltzes. Though it also giving it a distinct identity. Though the origins date used the accordion and bajo sexto, a distinguishing back to the late 18th century, the style became common feature was a wider variety of percussion, besides only when recording began in the brass instruments. A variation 1920s. Vocals played the dominant of Tejano music was called role, and the instruments included Norteno and it focused on the fiddle, banjo, acoustic guitar Legendary artistes socially relevant topics. These and fretted dulcimer. Some of the like Aretha styles heavily influenced folk pioneering artistes were the Carter acts of the 1950s and 1960s. Family and Jimmie Rodgers. The Franklin, Al genre also spawned the style of  American Gospel: Religious ‘brother duets’, with The Louvin Green and Nina and spiritual music existed in Brothers, The Delmore Brothers, the U.S. for years, but in the late The Monroe Brothers and The Blue Simone were 1920s, Tommy Dorsey made Sky Boys becoming popular. With it commercially successful the advent of bluegrass, this style hugely influenced through his concerts and became less common. recordings. This was when by American the term ‘American Gospel  Tex-Mex music: Mexicans gospel, though Music’ was widely used, and settled in the Texas region also early performers included had their own styles of music. One they had their own Sallie Martin and the young of them was Conjunto, which was Mahalia Jackson. On its own, also played in Cuba, and later had individual styles gospel music is a vast genre, but in terms of musical style, African-American community in St Louis, it was a mix industry consider the genre seriously. Yet, despite and not lyrical content, it had a of old-school march music and African polyrhythms. its influence on jazz and blues, boogie-woogie huge influence on rhythm ’n’ Following the popularity of Joplin and Morton, it remained a minor genre. blues and soul. Legendary was used by pianists James P. Johnson and Fats artistes like Aretha Franklin, Waller, and ‘Father of the Blues’ W.C Handy. Modern  Cajun and zydeco: Cajun music was played by the Al Green and Nina Simone European classical composers Igor Stravinsky, French-speaking settlers of Louisiana and certain were hugely influenced by Claude Debussy and Erik Satie were also influenced parts of Canada, and was said to have evolved gospel, though they had their by ragtime. However, its popularity began to decline in the early 1900s. While the accordion was the own individual styles. in the 1920s when big band music took over. main instrument, it also used the fiddle, triangle, All these styles have had some steel guitar, guitar, harmonica and bass. It is often impact on well-known genres  Boogie-woogie: This form actually originated mentioned in tandem with zydeco, as both are rooted like blues, jazz, country and in the 1870s, much before ragtime, but began in music created by French immigrants. Lively in soul. They have pretty much influencing other styles only in the 1920s. In fact, it nature, Cajun music has had an influence on country laid the foundation of American was used a lot by big bands and swing musicians, music and the blues. In the traditional form, most of music as we know it today. besides blues musicians from Chicago and the West the singing was in the upper range, and the accordion Much of this influence has had Coast. Boogie-woogie had a major impact on 1940s or fiddle matched it to produce the desired energy. A to do with the basic sound of ‘jump blues’ artiste Louis Jordan and that led to the subsequent form called Dancehall Cajun used a wider the music and the types of creation of rock ’n’ roll through Little Richard, Fats range of instruments like the electric guitar and bass. instruments used. Of course, Domino and Jerry Lee Lewis. Essentially beginning Zydeco had a different sound with an emphasis on the one has seen a lot of changes in as a solo piano form, it was extended to combine rubboard, a modification of the percussion instrument jazz and blues over the past five with guitar and vocals, or played by smaller groups. washboard. Combined with the accordion, the decades or so, with the use of Though jazz musician Morton and blues artistes musicians created high-tempo songs. The fiddle was rock elements and electronics. The banjo is now quite popular Blind Lemon Jefferson and Lead Belly used boogie- hardly used, and that was the major difference from because of its unique sound, easy Whatever the form, they are woogie, the first successful artistes were jazz Cajun music. While the main ambassadors of Cajun playability and its ability to fit into all part of the hybrid that went pianists Jimmy Blythe and Pinetop Smith, whose music were the Balfa Brothers, Clifton Chenier played several different genres of music on to be called ‘Roots music’

1929 hit ‘Pinetop’s Boogie-Woogie’ made the record a major role in popularising zydeco in the 1950s. or ‘Americana’. SHUTTERSTOCK

28 • October 2020 NCPA NCPA October 2020 • 29 BOOKS The Beatles. The book focuses not simply on the music, is Laura Tunbridge’s Beethoven: A Life in Nine but also the cultural and social milieu that creates and Pieces. In this relatively short book, aimed also at defines it. Ross attempts to break the false boundaries the classical music novice (explanations are given of perception that have been set up between classical for musical terms used), Tunbridge identifies nine and other genres of music. This is also a central theme works spread across Beethoven’s career and uses On a Literary Note of his 2004 essay in The New Yorker titled Listen to This these as an entry point to tell the story of his life (also found in this book of the same name). The subhead and times. The “times” are an important feature – the From works of non-fiction to novels, and video documents to feature films, Xerxes F. Unvala, General – “A classical kid learns to love pop, and wonders why book eschews the now-clichéd image of Beethoven Manager – Symphony Orchestra of India & Western Classical Music at the NCPA, recommends he has to make a choice” – succinctly describes the real- as the Romantic genius with a wild temper and hair essential reading and viewing to widen your understanding of and delve deeper into the genre. world impact of this imaginary division of genres, and to match – and we are also presented with grasping Ross’s tongue-in-cheek style, peppered with tidbits of anecdotes dealing with everyday life of a highly music history through the ages, makes for entertaining regarded composer, from rehearsal time, to his love and pertinent reading. of coffee, and copyright woes. Framing a list of resources that one should seek out Similarly, The Golden Ring gives us a rare seat in on Western classical music is not a simple task, not the recording studio with Sir Georg Solti, the Vienna least of all due to the broad scope of the genre. There Philharmonic and some of the leading singers – is an endless list of iconic biographies and scholarly Birgit Nilsson, Dietrich Fischer-Dieskau, Wolfgang resources for those wanting to delve into the lives of Windgassen and Gottlob Frick – and recording composers or performers and their work. However, engineers of the day. This is an intriguing insight into rather than detail these, in selecting the items listed what went on during the sessions for what remains below, I have tried to create a list that may appeal one of the most iconic recordings of Wagner’s both to new listeners as well as those familiar with ‘Ring’ cycle. This was the biggest recording project the genre. This is by no means suggested to be when it was created and the documentary offers exhaustive. Rather, it is a broad swathe of materials a glimpse of the energy, emotions and tension in I have encountered over the years that helped ignite the studio, along with some remarkably beautiful my interest in or have in some way shaped my excerpts of the music. thoughts on music – those that I feel have taught me Several video documents of rehearsal something and that I have simply enjoyed reading or footage also exist, published variously watching. They range from introductory materials as ‘In Rehearsal’ or ‘Great Conductors that I consumed early on in my discovery, to books I in Rehearsal’, which show am in the midst of today. just how a performance is shaped behind the scenes. The Video documents and films differences in rehearsal style of A lot of my initial interaction with the genre was each conductor – from Solti and through films, whether documentaries, rehearsal Celibidache to Mehta and Salonen videos, or concert performances, many of which I and many more – is striking, and these continue to return to even today. One of the forever- films prove as enlightening as they can classics in classical music appreciation is Leonard be entertaining. Bernstein’s series of Young People’s Concerts recorded with the New York Philharmonic. Perhaps Fiction and non-fiction one of the best pedagogues music has seen, apart For those seeking a deeper understanding Music has also from his “other” jobs as pianist, conductor and of the music they are listening to, proved a source composer, Bernstein’s Young People’s Concerts Aaron Copland’s book What to of inspiration for display an uncanny ability to explain even complex Listen for in Music provides just several authors and musical ideas in a way everyone, including children, that, with succinct chapters on has become a central can understand, appreciate and enjoy. In a world topics of music theory including theme in some of their where classical music, and art in general, tends to the common forms employed writings. Vikram Seth get pushed to the margins, we need more Leonard in musical composition. Central to and Haruki Murakami Bernsteins who showcase so exceptionally how Copland’s vision is his proposition that there are come to mind, as does classical music can be for everyone. three “planes” on which we can listen to music – the Julian Barnes. Barnes’s The behind-the-scenes look at what goes into creating sensuous, the expressive and the sheerly musical – novel The Noise of Time a performance or a recording is also fascinating. The and that armed with this basic knowledge, one will The year 2020 was to be a major moment in music features Dmitri Shostakovich as the protagonist, ability to peek into the off-stage lives of the artistes get greater enjoyment out of the experience, listening history, marking the 250th birth anniversary of the detailing his struggles with the Soviet authorities, and serves to, in a way, “humanise” the music and the genre. on all three planes. composer who least needs an anniversary year to be consequently, with his own conscience. One must The films of Christopher Nupen come to mind here, Alex Ross is music critic for The New Yorker and writes feted and heard. While the prevalent situation has keep in mind to not treat this book as a biography particularly The Trout, which takes us backstage with regularly on music and related topics. His book The Rest severely altered plans for Beethoven celebrations – though based on real events, this is a fictionalised Itzhak Perlman, Pinchas Zukerman, Jacqueline du Pré, is Noise: Listening to the Twentieth Century, which won around the world (many have moved online), the retelling of the composer’s life. Nonetheless, it makes Zubin Mehta and Daniel Barenboim as they prepare numerous awards and was a finalist for the Pulitzer, stack of Beethoven biographies has grown. There for a gripping read, unearthing larger questions of a for a performance of Schubert’s ‘Trout’ Quintet. The takes the reader on a century-long journey beginning are, of course, several biographies of his that have composer’s role in society, struggles between art and performance that follows is all the more enjoyable in 1906 with the Austrian premiere of Richard Strauss’s been published over the last two centuries, including politics, and the human experience during this period for the glimpse at the preparation and camaraderie Salome. In tracing this journey, the book touches upon acclaimed classics by Maynard Solomon and Lewis in history. And through this, it brings us closer to the

between some of the biggest names in the genre. everything from Bach and Beethoven to Brecht and Lockwood. Amongst the new entrants this year real Shostakovich. SHUTTERSTOCK

30 • October 2020 NCPA NCPA October 2020 • 31 Kiki’s Delivery Service is a ON-SCREEN rare conflict-free film filled with warmth and wonder

A scene from Spirited Away, a masterpiece that is as spooky as it is serene

Now in its 35th year of operation, producer Toshio Suzuki. the studio has made 21 films, Hayao Miyazaki’s My Miyazaki started out as an each based on a unique theme apprentice to Takahata, The Immersive Worlds of and a thoroughly fleshed out Neighbor Totoro and Isao publishing manga and plot: Nausicaä of the Valley of the drawing art for the movies Wind (1984) is a cautionary tale Takahata’s Grave of the Takahata directed. Suzuki with its post-apocalyptic toxic Fireflies would go on, was editor of a manga wasteland; the steampunk flying magazine to which Miyazaki castle mentioned earlier serves years later, to be two often contributed. The three Studio Ghibli as the domicile of a dashing, met, the stars aligned and the Studio Ghibli of the studio’s most Floating castles, dust bunnies, magical animals and heroic dragons might belong anti-war bishōnen (which literally studio was founded in 1985. means ‘beautiful boy’) in Howl’s successful and critically Castle in the Sky (1986), a to the realm of the bizarre and the fantastical, but thanks to the painstaking Moving Castle (2004); in Princess magical adventure about a world-building in the films of the award-winning Japanese animation company, Mononoke (1997), feudal Japan acclaimed films young boy and girl’s quest for they seem incredibly vivid and real. with mystical forest spirits is a legendary floating castle, the backdrop for a tale about was the studio’s first movie. By Leena Desai environmental stewardship; That was followed, in 1988, and in The Tale of the Princess by Miyazaki’s My Neighbor Kaguya (2013), a baby found Totoro and Takahata’s inside a glowing stalk of Grave of the Fireflies, both icture this: an old woman trudges up a bamboo serves as a conduit for of which failed to make a hill and looks up in shock as a hissing and a story about spirituality and splash at the Japanese box belching wood-and-metal behemoth, free will. The worlds depicted in office, but would go on, stacked with houses, domes, bastions, these movies are fantastical but years later, to be two of the turrets, horns, wheels, and fins walks they are built with such fidelity studio’s most successful and towards her on chicken legs, stops in its to realism that as a viewer you critically acclaimed films. It tracks and lets out giant billows of steam. are at once immersed in fantasy was Miyazaki’s Kiki’s Delivery Orp picture this: a little girl follows a trail of acorns and and grounded in reality. That Service (1989) that became falls into the depths of a grand old camphor tree and is the magic of Studio Ghibli the studio’s first legitimate enters a magical forest studded with vibrant flowers, and it is all because of the big hit and when they really got lush foliage and cuddly woodland spirits. Now imagine dreams conjured up by three into the groove of things. these scenarios in technicolour and with so much very humble men. They would go on to make attention to detail that you can count the number of four of the five top-grossing windows in each house on the behemoth or guess the And so, it begins films of all time in Japan; number of fruiting trees in the magical forest. These Studio Ghibli is the prodigious win numerous awards from are just some of the many enchanting worlds created STUDIOGHIBLI brainchild of directors Hayao the Japanese Academy Princess Mononoke depicts a fierce battle between iron From left to right: Hayao Miyazaki, Toshio Suzuki, by legendary Japanese anime atelier Studio Ghibli. manufacturers and ancient forest spirits Miyazaki and Isao Takahata and Isao Takahata for Picture of the Year and

2432 • FebruaryOctober 2020 2020 NCPA NCPA NCPA October 2020 • 33 James Cameron has cited Princess Mononoke as a major inspiration for his filmAvatar extremely complex city architecture that help situate the two lovers in a proper sense of space and time. Worlds within these movies have their own well-established laws, rules and systems. This semblance of internal logic is what makes the worlds compelling and immersive. In Spirited Away, the reason the bathhouse feels so real is because every character, major or minor, is fleshed out, with a job to do and places to go. In Princess Mononoke, characters have clearly defined roles: the women work the bellows while the men venture outside. These details add realism to the film The strange and utterly and make the universe contained fascinating eponymous within internally coherent and creation of Howl’s Moving Castle naturalistic. Unlike Miyazaki, Takahata used An abiding love of flight inspired the the medium of animation to explore protagonist of The Wind Rises subtle and subdued storylines in movies like Only Yesterday (1991) Animation of the Year; and win exists.” So, instead of making and Grave of the Fireflies. The one of the five Oscars their films Studio Ghibli creates Naoko look sideways while coming-of-age tale of two lovers were nominated for. worlds with detailed talking to Jiro – a glance and the tragic story of two siblings A common thread in the that could be construed as caught in a horrific war could studio’s work is the intricate and geography and arrogant – Miyazaki conveys just as well have been live-action immersive world-building in all its her strength of character by movies. The choice to animate films. These are complex, often architecture and their ensuring she looks straight at them not only suited these stories magical, universes with their animators have been Jiro when she tells him that perfectly well, the heightened own laws, rules and landscapes, she did not wait for anyone level of nuances that animation visualised, from the ground up, by known to travel the to call the doctor, but called could achieve in these films, in fact, the directors and the animators. him herself. These are minor elevated the subject matter in a world just to find the Spirited Away is In the first of his two-part details that add depth and highest-grossing film way that live action could not. monograph, Starting Point: 1979- perfect colour they have meaning to a character’s in Japanese history 1996, Miyazaki wrote, “Anime movement. Similarly, in other Pursuit of perfection may depict fictional worlds, but in mind for a film films, animators think about The Japanese have a philosophy I nonetheless believe that at how the characters run, turn, called wabi-sabi, which is about its core it must have a certain look and interact with their embracing imperfections, due to realism…the animator must fabricate a lie that seems environment. In Spirited Away (2001), when Haku, the the belief that the relentless pursuit so real, viewers will think the world depicted might dragon, falls because he is wounded and bleeding, his of perfection often leads to stress, possibly exist.” All films made by the studio serve to inability to maintain balance and his eventual fall appear anxiety and depression. When illustrate this point and the way they manage to sustain extremely realistic. This illusion of physics is created one looks at the work of Studio our suspension of disbelief is by perfecting three key by constructing a sense of scale, gravity, weight, and Ghibli, one can safely conclude that aspects:movement, geography and architecture, and momentum that helps animators ground the audience almost all their films go against the internal logic. This essay aims to briefly analyse each within the reality of the film world, even if it is strange principles of wabi-sabi. Miyazaki aspect and in doing so, owes gratitude to Mami Sunada’s or fantastical. and Takahata were not satisfied insightful documentary The Kingdom of Dreams and with showing the world the way Madness and to Asher Isbrucker’s excellent primer The Worlds within worlds it is, but rather the way they Immersive Realism of Studio Ghibli. Proper world-building is only possible when the Totoro might be about the relationship between two wished it really were. That kind of relentless pursuit audience feels like the world on screen extends little sisters and magical forest creatures, but their of perfection and idealism came at a price. Takahata Adding meaning to movement beyond the edges of the frame. Studio Ghibli does traditional Japanese minka, with its tatami floor bid adieu to the world in 2018 and in recent years, When characters move in Studio Ghibli films, you get this by creating worlds with detailed geography mats, sliding doors, and wooden engawa verandas, is Miyazaki has expressed a deep dissatisfaction with the the sense that the animators have thought about what and architecture. Their animators have been known so richly detailed that during the 2005 World Expo world, even calling animation “a cursed dream.” But, their movement says about them. For instance, in to travel the world just to find the perfect colour in Aichi, a replica of the Totoro house was made to in spite of their great discontent, these storytellers The Wind Rises (2013), we meet the kind and gentle they have in mind for a film. Miyazaki was heavily show the public the classical attributes of a traditional absorbed us in their unforgettable worlds. On a purely Naoko, the terminally ill love interest of the protagonist influenced by Europe and inKiki’s Delivery Service, Japanese house. Yoshifumi Kondô’s Whisper of the technical level, they expanded the limits of animation Jiro. When Miyazaki was working on this film, he said, Porco Rosso (1992) and Howl’s Moving Castle, you will Heart (1995) is about a mysterious cat that brings and on a purely emotional one, they left us with “What drives animation is the will of the characters. find idealised, fantastical interpretations of Sweden, two lovers together. What makes this bizarre premise work that continues to touch and break our hearts in You don’t depict fate; you depict will, even if fate Croatia and France, respectively. My Neighbor plausible and convincing are lengthy scenes featuring equal measure.

34 • October 2020 NCPA NCPA October 2020 • 35 Culture Digest

Kaleidoscope titled Making The Met, 1870–2020, which will be open to visitors till 3rd January Your window to the latest in the performing arts across India and the world. 2021. With over 250 works of art, rare archival photographs and unique digital features, this already critically acclaimed In the September issue of ON Stage, postponed due to the ongoing pandemic exhibition is sweeping in content and cellist and Artie’s co-founder Gauthier while others adapted to the situation A wonderful web execution. Also ongoing through October Herrmann talked about ‘confinement highlighting the maxim that something This month, Unicorn Online, the digital are several other exhibitions on a variety concerts’ (where each artiste plays from was better than nothing. avatar of the U.K.’s leading Unicorn of subjects, including African art, London his/her own home) and what he calls The 245th, albeit socially distanced, Theatre, will be presenting again, in honour The opening ceremony firearms and the Ramayana in Indian of BTHVN2020 the Vault Concerts, which are live and season of Russia’s Bolshoi Theatre began of Black History Month, the digital version painting. For more information, visit in-person concerts, but with a very with Don Carlo in early September of Anansi the Spider Re-spun, which was www.metmuseum.org/exhibitions limited audience. Through July and and will continue till October with inspired by the much-acclaimed 2019 by 250 days until mid-September 2021. ones that feature Indian miniatures, an In southeastern France, Avignon is August, as performing arts venues slowly productions that include Sleeping Beauty show, Anansi the Spider. Recommended This means that most of the scheduled impossibly long 15th-century French preparing for Art Week (www.festival- opened for business in some parts of the and Swan Lake (read more on page 19). The for ages three to eight, the performances, events will take place, albeit later scroll and a virtual tour of J. Pierpont avignon.com), to be held from 23rd to world, live concerts were presented in 49th edition of the Seuls en Scène French free to watch, promise to be fun-filled, than anticipated. For more information Morgan’s magnificent library. Visit www. 31st October, which will include several increasingly unique ways. In Germany, Theater Festival at Princeton University musical adventures adapted from tales on this, visit www.bthvn2020.de/en. themorgan.org/exhibitions/current for shows around the picturesque commune. cellist Jürgen Gerlinger performed in also went virtual this September with of West Africa and the Caribbean and The website also has numerous digital more information. The historic Shakespeare’s Globe www.( an emptied outdoor swimming pool recordings of live performances, readings will be available from 1st to 31st offers that include concert videos, shakespearesglobe.com) in London has which provided interesting acoustics and and live conversations with artistes. In October. For more information, visit lectures, virtual exhibitions and live Slow and steady started new-format in-person theatre plenty of distance between members of an interesting experiment, the 202-year- www.unicorntheatre.com/anansi-respun. streams that will satiate, on many levels, As parts of the world see a reduction in tours that keep the comfort and safety of the audience. At a concert presented by old stage at the Old Vic has been staging In one of the most anticipated online fans of the composer. new cases of COVID-19, performing arts patrons above all else. the Hong Kong Sinfonietta, musicians productions with minimum staff and dance shows, The Lawrence Batley As part of the Beethoven Pastoral centres are slowly reviving and returning As we try to navigate through this were separated by plexiglass to prevent minimal staging to a live ticket-buying Theatre in Huddersfield will stream the Project, The Sound of Nature, a splendid to life, with strict practices that facilitate upheaval, virtual and socially distanced airborne infection. Socially distanced audience on Zoom. The first production works of Jordan James Bridge (dancer, documentary by Deutsche Welle, that, caution and precaution. Some art galleries events, while few and far between, concerts have been organised across of Old Vic: In Camera was Duncan Studio Wayne McGregor), Daniel de among other things, highlights the and museums in Europe and the U.S. seem to be the only way to safely enjoy all genres, and drive-in concerts, where Macmillan’s two-hander LUNGS, in Andrade (Artistic Associate, Northern interplay of nature and music in the have opened, though only scheduled visits the performing arts for the foreseeable the audience members stay in their cars, which actors Claire Foy and Matt Smith Ballet) and Gary Clarke (Artistic composer’s Sixth Symphony is available are permitted. future. Meanwhile, the question of are now becoming increasingly popular performed socially distanced versions Director, Gary Clarke Company) in the for viewing on the official YouTube across the U.S. and Europe. of the play over a couple of days that aptly named Locked down. Locked in. channel of DW Classical Music. The were live streamed to 69 countries But living. The works are based on the channel also hosts interviews with famous Rolling with the punches across the world. Live opera also theme of isolation – something we have musicians, offers insights into artistic In Australia, the advent of spring this returned to the English National Opera all become uncomfortably familiar with processes, and includes documentaries September also saw the beginning of the last month with multiple shows of during the worldwide lockdown. The and concerts, making it a brilliant resource Sydney Fringe Festival, which has now Puccini’s La bohème at the ENO Drive & show will be available online till 18th for aficionados of classical music. wrapped up an extraordinary season Live drive-in experience. October. For more information on ticket The New York City-based Morgan which included performances that were It will take a while for the world to get rates and the individual works, visit www. Library & Museum hosted a virtual attended in person and online, via live back to normal, pre-pandemic times, thelbt.org/shows/locked-down-locked- exhibition of autographed music and on-demand streams, with a helpful but in the meantime, here is a list, quite in-but-living manuscripts by Beethoven in September pay-what-you-feel button. As autumn possibly incomplete, of artistes and The 9th Annual Atlanta Black Theatre 2020. While slated to conclude by the took hold at the same time in Europe, organisations doing their best to keep the Festival, to be held from 30th September time this gets published, the hope is several events still stood cancelled or performing arts alive. to 4th October, is going virtual this year that since ‘Beethoven year’ has been and each day will include performances, extended, perhaps this illuminating Martyn Brabbins, Music readings, workshops and panel discussions, exhibition will follow too. Visit www. Director of the English among other things. For Pay-What- themorgan.org/exhibitions/beethoven-250 National Opera, in rehearsal Pierpont Morgan’s Library You-Can Access Day Passes and other to see if this has indeed happened. information, visit www.atlantabtf.org Incidentally, the Morgan has a collection of As 2020 marks the 250th anniversary brilliant online exhibitions, some of them Drive-in screenings of the Royal survival of arts centres is as crucial as of Beethoven’s birth, grand plans were complete with audio guides, including Opera’s La bohème and La traviata and it has ever been. If you have ever loved made in the German city of Bonn, his the Royal Ballet’s Swan Lake and Alice’s a play, a painting, a piece of music, a birthplace, to celebrate this milestone. Swan Lake at the Royal Opera House Adventures in Wonderland are scheduled to piece of choreography, a film, then Many of the events were cancelled or be presented in outdoor locations in the do whatever is possible for you to postponed as all festivities came to an U.K. like the Blenheim Palace, Warwick do. Subscribe. Donate. Buy Tickets. abrupt halt in March. But the Supervisory Castle and Harewood House, among Support the arts. Board of the Beethoven Jubiläums others. For information on dates and GmbH (BTHVN 2020) decided that ticket prices, visit www.roh.org.uk Information subject to change as countries the funds set aside for the anniversary The Met Fifth Avenue in New York City, make changes to lockdown and social- year will be carried over to 2021 and on the occasion of its 150th anniversary, distancing norms. Compiled by Vipasha

PABLO STRONG that the ‘Beethoven year’ will be extended has organised an immersive exhibition Aloukik Pai. FROM TOP TO BOTTOM: BEETHOVEN JUBILÄUMS GMBH; GRAHAM HABER; JOHAN PERSSON/ROH 2010

36 • October 2020 NCPA NCPA October 2020 • 37 HIGHLIGHTS FROM THE DIGITAL ISSUES OF ON STAGE APRIL 2020 - SEPTEMBER 2020 TRIBUTE

Seldom have I met in my life such a remarkable human There are times, when walking through the NCPA, that one being as Dr. Bhabha. I was fortunate to know him during pauses. For me, it is when I look down the rich purple sweep of the last few years of his long and eventful life. the Tata Theatre stairway with its glass doors and breathtaking The creation of the NCPA on a reclaimed piece of promise of ocean-view. It is when I wander into the hush of the land was an unprecedented masterstroke and I don’t Experimental Theatre green room, where the air is redolent with think there is an equivalent of such a large and beautiful memory and expectation. art centre in the world, created single-handedly by a I wonder then at what it takes to transform an idea into an private individual who realised his dream by roping in institution – the vision, the doggedness, the capacity to inspire, the best of architects and acousticians. implement, catalyse support, galvanise sponsorship, convert the He loved his beautiful house, his beautiful and large sceptical, the apathetic, the tight-fisted; the capacity, above all, to collection of art. I remember visiting his home with a keep the faith. And that is when Dr. Jamshed Bhabha comes to mind. In room full of books everywhere – I could hardly see him When I joined the NCPA in 1994, I was struck by the mix behind the piles of rare tomes and albums. The famous of awe and terror with which the name of Dr. Bhabha was Remembrance saying, ‘Beauty will save the world’, was indeed the invoked. Seismic tremors ran through the organisation on those credo of his life. occasions when he visited. It intrigued and amused me. Dr. -Marat Bisengaliev, Music Director, Symphony Bhabha seemed to be a mythic figure – eccentric, forbidding, of a Visionary Orchestra of India more presence than person. One day, he summoned me. I remember entering his Bombay From the September 2020 issue of ON House office with misgiving. But it was at this encounter that I glimpsed a side of him I wasn’t prepared for. The air of Stage: On Dr. Jamshed J. Bhabha’s 106th imperium was in abundant evidence. But there was also an old- birth anniversary, personalities from the I cherish the pleasant memories of our – Jhaveri sisters’ world courtesy and more surprisingly, a willingness to listen. world of the performing arts shared – and Guru Bipin Singh’s close association with Dr. He talked of his interactions with Mrinalini Sarabhai and his Bhabha since the inception of the NCPA. He was broad- fondness for the Bharata Natyam of Chitra Visweswaran. This memories of their association with the minded, far-sighted and had a love for all art forms. was not just a formidable cultural czar, but a connoisseur, a man the NCPA owes its existence to. He encouraged us by arranging many programmes genuinely curious rasika. and lecture-demonstrations, and having our work in Beneath the passion for the performing arts was a restlessness. Manipuri dance documented, helping us with our As I spoke of the need for more intimate spaces for performance, archival material. The NCPA was very fortunate to have his concerns obviously lay elsewhere. The NCPA housed some such a dynamic Chairman. wonderful theatres, he agreed, but there was a lacuna: a grand world- -Darshana Jhaveri, Manipuri exponent and class proscenium performance space. Without that, he asserted, a recipient of the national Sangeet Natak Akademi composite arts centre was incomplete. Dr. Jamshed Bhabha passed away more than 13 years Whenever I frequent the Jamshed Bhabha Theatre Award and Padma Shri On the occasion of his birth anniversary, I think back on this man ago, yet we are reminded of his munificence and (JBT) at the NCPA, I try for a seat in row J. It’s my whose vision for a state-of-the-art performing arts hub in Mumbai in generosity every day. I am sorry that we could not hold remembrance of Jamshed Bhabha, the presiding the 1960s was probably seen by many as elitist, irrelevant, and at odds a meeting this year on his birthday, the 21st August, so spirit hovering over the theatre and all that the with the largely developmental aspirations of a newly independent this written tribute, albeit a poor substitute, will have NCPA does. When the JBT opened with a group “I had the good fortune, and now the cherished memory, of India. When the state government did not accede to his demand to suffice. from Germany playing Mozart, I was seeking having serendipitously met Dr. Bhabha in February 2006. for land in the city, Dr. Bhabha decided to build his dream project These bleak days, so full of unexpected twists and my seat when I heard my name called out. I saw I was introduced to him in the house that bears his name on water, rather than rest with castles in the air. He turned seaward, turns, remind us of his enormous courage, fortitude Jamshed waving me to his side. When I got there, by then Vice-Chairman Khushroo N. Suntook, during the opting to construct on reclaimed land. It took eight years before the and vision that culminated in the magnificent edifice he said, “Always J row, Gerson. I know the acoustics interval of a concert conducted by Johannes Wildner. The building construction could begin. But summoning all the grit and that we inherited from him. The least we can do to here. J for Jamshed.” Symphony Orchestra of India was in its second season and intrepidity of a cultural pioneer, he seems to have stayed the course. honour his memory is to work tirelessly to overcome J also stands for Joy and Judgement, two words I I did not know at that point that I would devote the next 14 Those qualities clearly became the foundation of the NCPA, leading this situation and emerge stronger and better. associate with Jamshed, the first being the legacy of years to this extraordinary mission. There are many concert to its inauguration in 1969, and its downtown incarnation, the Tata -Khushroo N. Suntook, Chairman, NCPA Joy that the NCPA dispenses generously to lovers halls that bear their benefactor’s name, but it is impossible Theatre, 13 years later. of the performing arts, and Judgement. That’s to fully appreciate the scope of Dr. Bhabha’s generosity In the 1990s, Dr. Bhabha approached yet another dream, the the outcome of the thought he would give to the combined with his driving spirit of tornado proportions. Jamshed Bhabha Theatre, with the same single-mindedness. The minutest opinion required of him. From its very founding, up to the legendary reclamation of story of how his beloved theatre was gutted in a fire months before When politically motivated riots broke out the present NCPA campus from the sea, to this very day, its completion is now the stuff of NCPA folklore. His response to the in Jamshedpur, the serene Tata city in what was where uncertainty that has rocked nations and peoples to catastrophe is legendary. “Tomorrow, we begin reconstruction,” he Jamshed Bhabha was a Renaissance man, a man then Bihar, he called me up when I was in Lintas, their core is just that bit more manageable than it could have declared. Just two years later, in 1999, the JBT opened its doors to who loved the arts, a visionary who saw the the advertising agency. I met him and Sharookh been, Dr. Bhabha’s lifetime of support and legacy gift to the city audiences. necessity of a national centre for the arts and put Sabavala. What was to be done? Tell everybody, NCPA remains incomprehensible to but a few people. In any theatre, it is the artistes who are the protagonists. It is they his will and energy behind it to make it happen. I suggested, about all that the Tatas bestow At his request, his ashes were scattered at the NCPA, and who infuse life into the floorboards, beauty into brick, magic into He was kind and gentle and a man of great taste. on Jamshedpur: education, health, way of life, as an artiste who has benefitted so much from his largesse, mortar. But there are many co-creators – visible and invisible – of a And a dear friend. privileged civics. “And you might add, we also make I feel extremely honoured to have shaken his hand just two cultural experience. A birth anniversary seems like the right occasion -Mallika Sarabhai, Bharatanatyam and steel.” Jamshed picked that up and Sharookh made months before his passing. As we all attest, he was and is, to acknowledge that. And to remember a man who poured life and Kuchipudi exponent, choreographer and it a tagline for Tata Steel. “We Also Make Steel.” body and soul, the NCPA.” legacy into turning a personal dream into a city’s cultural destiny. recipient of the national Sangeet Natak -Gerson da Cunha, veteran actor, adman, -Zane Dalal, Associate Music Director, Symphony -Arundhathi Subramaniam, noted poet, writer and former Akademi Award and Padma Bhushan author and social worker Orchestra of India Head of Dance, NCPA

40 • October 2020 NCPA NCPA October 2020 • 41 OPINION REFLECTIONS

in June. As it turns out, both it is not our decision to stop CARLO RIZZI projects have been cancelled. performing, I fear that many CONDUCTOR I am very aware of the artistes will feel the forced problems caused by the confinement restrictive. hen the pandemic cancellations not only for I hope that this experience ON A PANDEMIC started, I was people like myself that have makes us realise that with In the May 2020 issue of ON Stage, renowned names from the world of Western conducting Verdi’s Les an established career, but only two months of classical and Indian music, jazz, dance and theatre weighed in on what cancelled W vêpres siciliennes and particularly so for young lockdown, the effect on the concerts, suspended travel, trepidation about large gatherings, and the gift of Mozart’s Le nozze di Figaro people, fresh out of the health of the planet has been gestation entail for the performing arts. at the Welsh National Opera. I conservatory. They cannot phenomenal. The smog is had planned to travel to Italy rely on the school anymore, gone, the canals in Venice are at the end of February, which but also cannot audition or clear, the dolphins have come had to be cancelled as the apply for a job. back in the Mediterranean. country (Milan in particular) The absence of performance This shows that the planet MUSIC: A LIVING, BREATHING ART FORM was already under the impact opportunities cannot impact can recover quite quickly if of the virus. At that point, the quality of an artiste, but at we humans get serious about discussing next steps, as the one’s schedule. Apart from I realised that things were the same time, performing live making a plan for the future, MARTYN BRABBINS worldwide crisis developed. ENO video meetings, I am getting serious and I started to is the real reason why we go and this is definitely a positive I was in the midst of a sold- free to spend unprecedented fear for my next engagement into music or acting. Of course, that would not have become CONDUCTOR out run of performances amounts of time in our at the Metropolitan Opera in we need to make the best apparent had we not been in of Madam Butterfly – four habitually neglected garden. April and at La Scala in Milan use of this time, but because lockdown. down, five to go. The U.K. I am not aiming at self- government that day, sufficiency, but expect a good decided to advise the public crop of vegetables in a couple against going to theatres. of months’ time. And time ASHWINI BHIDE-DESHPANDE Reluctantly, we cancelled the together with Karen, my wife HINDUSTANI CLASSICAL MUSIC VOCALIST rest of the ENO season. Two and companion for the past new productions, Rusalka and 42 years, is an extraordinary e had been listening screening was done at the The Marriage of Figaro, were pleasure. to stories coming from Mumbai airport, I chose to also casualties of this closure. I fervently hope that this abroad about normal quarantine myself upon return. Music is a living, breathing global crisis will enable the W life getting affected. When the lockdown was art form. For audiences and world to come to a new As one thought of what the imposed, I looked forward to performers not to have the realisation as to the value pandemic would cost India, immersing myself in riyaz, and reality of live music-making of art and culture, the concerts in April and beyond dwelling more on ragas from a is distressing. Music needs environment and the social. began to collapse like a pack non-performing perspective. performers, and performers The selflessness shown by of cards. It dawned on us that This was supposed to be a rare need audiences. We all need many in these difficult times this was here to stay. break without the pressure of composers...don’t forget that. has to have a profound I was on a 10-day tour of programmes being lined up. Time to practise, to listen, influence on the so-called Australia and New Zealand What I did not realise is, mann to reflect, though, is also a political leaders of nations. in March, with a stopover nahi lagega. The uncertainty wonderful gift. I am certainly I believe peoples across the in Singapore for a concert. and agony all around makes will return to the world of write this in mid-April expecting this period of whole world must become While the performances it difficult to focus on creative performing arts. The artistes and exactly four weeks enforced musical exile to reap more united than ever before. went according to plan in the pursuits. There is some solace rely upon concert halls and ago, I was sitting in the rich rewards in the future. As a How can man, with such first two countries, the one in knowing that there are theatres to reopen, while I Ellis Room at the London busy international conductor, extraordinary gifts of intellect in Singapore got cancelled, several people who are helping the reopening hinges on Coliseum, with senior one rarely has extended and reason, dare to allow the which also resulted in last- others in these difficult times. people feeling confident and colleagues from the English periods of time at home, when possibility of another such minute changes in my travel Time alone will tell when comfortable about gathering

National Opera (ENO), there is no pressure upon catastrophe? (BRABBINS) EALOVEGA BENJAMIN (BHIDE-DESPHPANDE) TENDULKAR MAYUR (RIZZI); HALLE THE back to India. While thermal a semblance of normality in large numbers again.

42 • October 2020 NCPA NCPA October 2020 • 43 SANJAY DIVECHA DANCE: GUITARIST AND COMPOSER

s someone who loves what I do, it was a loss of not only the opportunity to A WHIRLWIND OF play, perform and share music with an A audience, but also a loss of income. As a music teacher, my lessons are always one-on- EMOTIONS NILADRI KUMAR one, in person. There are too many limitations to teaching online. Although I have been forced SITAR AND ZITAR PLAYER to do so, it is a poor substitute. I have still to ANITA RATNAM had an appointment at the U.S. Consulate explore performing online for an audience. CLASSICAL AND CONTEMPORARY General in Mumbai on 11th March. Within a A big part of an artiste’s life is spent in solitude, week of that, all concerts were cancelled working on their skills and works. This time is DANCER AND CHOREOGRAPHER I and a few days later, the lockdown was as good as any to do that. Being forced to be imposed. When a concert or show gets at home has certainly given me an opportunity cancelled, irrespective of the scale, there is to work on my music, both on compositions a direct impact on not only the performer or and technically. Artistes, however, feed off the artiste but also on those involved in making response and feedback of the listeners. Their the event happen. The organisers, sound support helps motivate artistes to keep creating technicians, stage management, the marketing new works and constantly let their work evolve. and publicity, transportation and hospitality Once things settle down, it is for the concert teams and, in some cases, the sponsors, are promoters to take the step to organise events all directly affected. The field of arts exists in that will keep artistes gainfully employed, and LOUIZ BANKS a larger ecosystem. If businesses are affected, for audiences to come out and support the JAZZ MUSICIAN, COMPOSER, SINGER people lose jobs or have their pay cut, and same. academic activities are in disarray, practitioners he first and most damaging impact of the pandemic of the performing and fine arts are bound to on music was that all our shows were cancelled and earnings completely stopped. As the future still get impacted. With the necessity of social T remains uncertain, we are trying various alternative distancing, and who knows how long it will ways to make profitable use of our expertise. The options continue, how does one expect people to buy open to us are giving specialised lessons online and tickets and gather in a venue for a performance? performing concerts through video conferencing. When an artiste is training, practising or I feel inspired watching my son Gino give online drum researching, or in musical terms is in sadhana lessons right through the day. Maybe it is time for “Learn or , the audience and other aspects of to play jazz the Louiz Banks way” for interested students riyaz who need personalised training. But first, I need to performance should not have a role to play. prepare my methodology. On the other hand, once you are a performing The online avenues notwithstanding, live interaction artiste, you learn with each interaction you have with fellow musicians is crucial for musical growth, which with the audience about what you need to do is missing at the moment. Working indefinitely in isolation differently. And then comes the super league can have an adverse effect on a musician’s well-being of the greatest of artistes who create, nurture his is a period of churning. We are too vast and development. The absence of performances will not affect the musicality of a seasoned artiste because and mould the audience to grow with them. a country for a one-size-fits-all response to music is ingrained in him, but it is crucial for a developing Ultimately, the artiste does not perform for the the situation we are in, which needs to be musician to shape his musicality and skills in a live audience but rather for himself or the divinity T tackled both nationally as well as at the level performance before an audience. within him. The listeners then hope to bask in of the states. In Tamil Nadu, known for its rich that light of divinity and experience grace. artistic traditions, artistes (most of whom work Most of Europe and the U.S. and some other independently with no government salaries to countries have a fantastic system in place for fall back on, as is the case across the country) decades for the arts, especially the performing are organising themselves to support fellow arts, with venues and an allied support system members of the fraternity. With performance for finances and propagation. India is still an opportunities having dried up, folk artistes, evolving economy and for artistes to solely performers at weddings, light designers, make- depend on government sops or CSR funding up artists and costume dressers are among the for their survival is probably not the only way worst-affected. These are some of the realities forward. Indian music has stood the test of time that need to be brought to the government’s and many pandemics, and that is only because notice so a long-term plan can be formulated. of the power of the love of the people of this Perhaps the annual budget of the Indian Council land. These times too shall pass and newer for Cultural Relations for 2020-21 can be kept avenues will emerge while the old ones become aside to assist artistes in need by roping in all stronger. (RATNAM) SANGOI VIPUL zonal centres under the Ministry of Culture to

44 • October 2020 NCPA NCPA October 2020 • 45 draft comprehensive lists. Funds for festivals towards becoming vegan. This situation has and production grants could be diverted given me time to think: when I choose to towards these efforts too. come back, what do I come back with? What THEATRE: At the same time, I realise I am one of the do I want to create? fortunate ones who can use this period as a The world seems to have gone online. But reset button. The lockdown has enriched me what are we consuming for free even as we THE LIVE MEDIUM in unexpected ways. It has helped me put a continue to pay for our Netflix subscription? brake on the momentum of life I otherwise The arts. When things begin to normalise, would not have thought of doing and I am we will take our time to return to theatres, LUCIE JONES giving myself the permission to not feel guilty auditoria and concert halls. It will be a very MUSICAL THEATRE ARTISTE about it. I have taken up a British Museum slow process, which in some cases may begin course on Egyptian mythology I had always with home concerts of no more than 30 to 40 was due to restart work on a Monday wanted to pursue, I do not teach my dance people. We cannot possibly do everything in March having had a six-week hiatus form but I do mentor young artistes, I continue on Zoom and by nature, we certainly cannot from Waitress, the musical on West with my yoga practice and I am transitioning remain isolated for too long. I End. I turned up at the theatre and was told our show had been cancelled due to the Prime Minister suggesting people do not go to the theatre. The virus has now permanently closed our show due to RATIKANT MOHAPATRA funding and running costs. Our industry currently has zero income. ODISSI DANCER AND CHOREOGRAPHER SHERNAZ PATEL Actors, creatives, crew, front-of-house n the tacit hierarchy of national importance, FILM AND THEATRE ACTOR staff, security guards – everybody is out of the performing arts appear after politics, work. Living in London on a general actor’s Bollywood and cricket. And while I can continue t all seemed inconceivable is a necessary stopgap. It wage is not easy, but cutting out income I to teach online in my capacity as Dean & at the start. But when even gives creative people stuck entirely is catastrophic. Professor – Faculty of Arts, Communication and beloved Prithvi, that stays at home a chance to express We live in one of the most expensive cities Indic Studies at Cuttack’s Sri Sri University, there open 365 days of the year themselves. It gives theatre- in the world and are often offered a job are accompanying musicians and backstage I staff to whom this online world means nothing regardless of floods and riots, loving audiences a chance that pays in “exposure”. We are very often and for whom the absence of live performances had to down its shutters, it hit to stay connected to the asked to work for free, or for a minimum comes with the question of survival. home. medium and the performers wage – covering expenses and lunch is a Today, we find ourselves enveloped in The theatre business they admire. It may also fee I am used to being offered. I hope that uncertainty, frustration and fear. What used to here is primarily made up generate some income for on the other side of this lockdown, actors be a welcome conversation with an acquaintance of freelancers who rely on the community, which we will feel secure in their field to say no to who would stop by the gates of our home now desperately need. But can gets me worried about the health of my 94-year- income from theatre and other seriously low paid work and producers/ old mother. performing arts to survive. watching “a play” on Zoom employers will be less inclined to make There is also the opportunity to introspect and With no money coming in and replace the real thing? I am offensively low offers. rediscover oneself. Neo-classical innovation in no indication of when theatre/ old school perhaps, and find it I am counting the positives of COVID-19 Odissi is a key area of my work and I have been film/web work will start again, difficult and absurd to perform as much as the negatives, though. I am planning choreographies, which, without moving there is a lot of fear and in a void, alone in front of just teaching online, which I really enjoy. away from the frame of discipline of the art, apprehension. a computer camera, but who Although I am looking forward to being explore speed and themes in ways that appeal to audiences. We are not a country that really knows what the new back in the room with people that I do Until recently, performances used to take takes care of its theatre normal will be. I have been miss, we have all come together as a precedence over academics, but as I make community. The government inspired by some of the great worldwide community during this time, an attempt to answer questions posed by my funding is and has always been shows that have been put up created incredible content and built great students over video calls, the reciprocation helps negligible. Corporate money online by the National Theatre, relationships out of darkness. us all learn and evolve in the process. The nature will also perhaps become the Hampstead Theatre of the performing arts is such that artistes must work together with everyone involved in putting harder to find. So it will be and others. My heart aches together a performance; there is no concept of ‘I’. up to us to help each other. when I watch a full audience This camaraderie is now evident in the fraternity’s On the flip side, people have applauding. I cannot wait to response to the pandemic as it builds a database been saying for decades that be in an auditorium again. To of folk artistes in the state to become their voice Indian theatre is dying. It will walk into an empty theatre... and appeal to the government to pay heed to not. We will come out of this the smell of that. To stand in their needs in these trying times. One day, this will be over, though life will not temporary darkness braver the wings on the third bell and be easy for everyone. Each of us will have been and stronger. hear the buzz of the audience reborn. The art world is in gestation, a good Theatre is a live medium. It as the lights dim. To hear the dhamaka awaits us all. only happens when the theatre roar of collective laughter company and the audience and to experience a standing congregate on a specific day ovation again. For all of us at a specific time and share a who practise this art form, this living, breathing experience. is our lifeline. Without it, we The plethora of digital content will not be able to breathe.

46 • October 2020 NCPA NCPA October 2020 • 47 SNAPSHOTS Grand Harmonies The Symphony Orchestra of India’s Spring 2020 Season featured the heart of the classical repertoire in the music of Mozart and Beethoven, the festivity of theatre musicals, the Indian premiere of a concerto that calls for communal harmony and a stellar roster of world-class musicians. From the April 2020 issue of ON Stage, we bring you some memorable moments of the season.

Above: Conductor Augustin Dumay with pianist Maria João Pires

Left: From L to R, Kelley O’Connor, Shankar Mahadevan, Hariharan

Bottom: Maria João Pires with Chairman at the NCPA, Mr. Khushroo N. Suntook (left), and with students of the SOI Music Academy (right)

Facing page: The India premiere of Zakir Hussain’s Ameen, Amen, Shanti under the baton of Zane Dalal

The Symphony Orchestra of India’s Spring 2020 Season was undobutedly the most diverse season in terms of repertoire that the SOI has ever presented. The season opened on 16th February with a programme that featured renowned conductor and violinist Augustin Dumay and pianist Maria João Pires who presented, among other works, Beethoven’s Third Piano Concerto and Fourth Symphony. On 20th February, the SOI presented a rare musical theatre gala featuring Lucie Jones and Adam Bayjou, stars from the West End. Daniel Bowling, music director for iconic productions like Lion King, Mary Poppins, etc., conducted the programme featuring excerpts from beloved musicals including The Phantom of the Opera, Wicked, Les Misérables, and many more. Associate Music Director of the SOI, Zane Dalal, conducted a special programme on 25th February to present the India premiere of Zakir Hussain’s Ameen, Amen, Shanti, a concerto for four soloists that centres on discovering the common experience of the human condition. Along with Hussain on tabla, the performance featured Shankar Mahadevan, Hariharan, and mezzo-soprano Kelley O’Connor as the vocalists. The final concert of the season on 1st March featured an evening of French classical music with two specialists in the repertoire: pianist Jean-Philippe Collard and conductor Laurent Petitgirard.

48 • October 2020 NCPA NCPA December 2013 • 27 Left: The SOI with stars from the West End at the Musical Theatre Gala

Below: Vocalist Adam Bayjou (left) and conductor Daniel Bowling (right)

Bottom: Vocalist Lucie Jones, who is currently essaying the lead role in Waitress on the West End

Above: Pianist Jean- Philippe Collard playing some Chopin, Fauré and Granados at an intimate recital at the Tata Theatre

Right: Conductor Laurent Petitgirard and pianist Jean-Philippe Collard after presenting Le rouet d’Omphale by Saint-Saëns at the NCPA

Below: Conductor Laurent Petitgirard takes a bow with the SOI after Franck’s Symphony in D minor

NCPA December 2013 • 27 Thank you so much for providing this memorable experience for our students and teachers. - Anjana Roy, Dhirubhai Ambani International School

Our children can’t stop talking about you. Yesterday created memories

for our kids. Bravo! Top and above: Students - Ayesha Arthur, The French from 15 schools in Mumbai International School attended a special presentation of Zakir Hussain’s Ameen, Amen, The message of Shanti, where conductor Zane Dalal familiarised unity was especially them with the workings of important and what an orchestra

a wonderful way to Right: Associate Music expound it! Director of the SOI, Zane Dalal - Arti Vakil, Wishing Well organisation 24 • December 2013 NCPA 52 • October 2020 NCPA REVIEW

Conservatoire, the Fauré prize, and prizes at the Long-Thibaud-Crespin and Cziffra competitions. His many recordings of Fauré, Chopin, Saint-Saëns, Brahms and Rachmaninoff on EMI are considered definitive versions. Throughout his career, Collard has First only used his legendary virtuosity at the piano as a Music means to serve the music. A gentleman pianist who From the May 2020 issue of ON Stage: Two stellar pianists, cognoscenti may seldom rarely talks of himself or his achievements, and more hear under one roof, were brought together as part of the latest SOI season. Vastly about his friends, family and places he has visited. It different in their musicality, they share in common what ties together all great artistes. was his friendship with Vladimir Horowitz that helped By Jehangir Batiwala him cure himself of a habit of overworking his right hand. Horowitz noticed the way Collard sagged his shoulder to get more out of the right register of the piano, because he was naturally left-handed. This Jean-Philippe Collard awareness helped Collard make corrections and avoid injuries that affect many pianists and this has served continuing later in Germany, with Rosl Schmid and him in good stead in his long and illustrious career. Karl Engel. Even earlier on in her career, what she had For his recital at the Tata Theatre the repertoire to say about the music she played made audiences included Chopin’s 24 Preludes, something that Collard all over the world listen to her, and agree with her. has made a speciality, Fauré’s Ballade in F-sharp minor, Her mastery of Mozart, Beethoven, Schubert and Chopin are all documented in recordings for Erato and Deutsche Grammophon. For her concerto performance with the SOI, it was fitting that Pires chose Beethoven’s Piano Concerto No. 3 in C minor. This is a work that she has lived with for many years. It was almost miraculous how a petite person like Pires, with such small hands, could navigate not just the notes but also express each bar and phrase with such conviction that even Beethoven would whole-heartedly approve. The opening of the second movement was magic beyond words. Laurent Petitgirard One could see that each orchestral musician was mesmerised and transported by which no one can play like him, Maria João Pires and Augustin Dumay what they heard in the first 11 bars, Throughout his career, and a selection from Granados’s before they had to join in. Goyescas. His recent recording of It was also fitting that Pires Jean-Philippe Collard Goyescas has earned Collard rave he SOI Spring 2020 It was almost pianists. Musicians first, as their was accompanied by her long- has only used his reviews and awards, so it was truly a Season was unique, goal is to serve the music and time musical colleague and friend wise choice to include this beautiful as audiences in miraculous how Maria respect the score, and their great Augustin Dumay, conducting the legendary virtuosity at music in the programme. Mumbai got to João Pires could abilities on their instrument are only SOI. Even though Dumay is primarily the piano as a means to The repertoire choice with the witness not one, navigate not just the a means to that end. This ability known as a great violinist, his global SOI was Saint-Saëns Concerto No. but two legendary comes from years of training and perception of music, of the musical serve the music 5, the final of the composer’s five pianists in performance. These notes but also express encounters with great masters who language of certain composers and concertos. Collard has recorded pianistsT are household names in taught them not only how to play his ability to work out the right bowing and accents to them all and of course, played the work with great each bar and phrase Europe and even around the world, the piano and manage successful obtain the desired effects in a score, has made him a magic and authority. This is a special concerto with especially amongst connoisseurs with such conviction careers, but also how to live life as sought-after conductor amongst some circles. And if effects on the piano that make the piano sing, dance of classical music and piano that even Beethoven normal people and share their art that was not an advantage enough, Dumay and Pires and imitate other instruments like the gamelan, and aficionados. To have them perform freely. agreed to a long-pending request from Chairman the orchestra could not have found a better pianist- in Mumbai at the National Centre would whole-heartedly Pires’s encounter with music was Khushroo N. Suntook to do a joint recital which concerto match than this. The choice of conductor for the Performing Arts, during approve at the age of four, when she heard featured three Schumann Romances, the Schubert for this work was another distinguished gentleman the same month, in recital and in a concert of violinist Ginette Neveu Sonata in A minor and Beethoven’s 1st and 5th Violin- musician, Laurent Petitgirard, who is a long-time concert with the Symphony Orchestra of India, was and her pianist brother in Lisbon. Shortly after that, Piano sonatas. Their legendary recording of the friend and musical colleague of Collard. Petitgirard’s truly an admirable achievement for the NCPA. Neveu died in a plane crash, but she still remembers complete Beethoven Violin-Piano sonatas stands knowledge of this repertoire and flawless baton that even though Neveu had a personal sound, it only amongst the greatest recordings of this music and technique made this one of the highlights of the many Dream team spoke of the music. This is what Pires has maintained some of that magic was recreated at the Tata Theatre SOI seasons. Maria João Pires and Jean-Philippe Collard have both throughout her career, to serve the music and not that evening. After setting such a high standard, we can only hope had international careers for more than five decades. herself. This honesty has paid off very well and today, that the NCPA and SOI are consistently able to invite Though their styles and choice of repertoire are quite she is regarded as one of the greatest pianists of her New directions such great musicians who perform for us the music different from one another, they share one thing in generation and a legend. She began her studies with Jean-Philippe Collard took the musical world by that they are not only leading exponents of but have common that makes them such great musicians and Campos Coelho and Francine Benoît in Portugal, storm as a young pianist, winning first prize at Paris lived with and loved.

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EXPRESSION new venue for us – both to perform and to experience. But how different is it? How is the community engaging with it? It is not that Facebook, YouTube GOING ONLINE: A NEW REALM and similar portals did not exist before. But with other avenues for performance being closed, they are From what it means to perform before a camera to consuming art for free, Swapnokalpa Dasgupta, under the spotlight. For dance, the online platform is Head – Programming (Dance), NCPA, addressed the many questions that the digital shift in cultural being used in multiple ways – dance classes are being consumption has given rise to in the June 2020 issue of ON Stage. conducted through portals, videos of performances are being uploaded, the Live feature on Facebook has given artistes an opportunity to perform from their o one can undermine the effect of Aditi Mangaldas homes during lockdown. Artistes are also presenting a live performance. The experience collaborative videos put together as one dance piece of alert minds bonding through the with snippets of them performing in their respective arts. A silent exchange of energy, spaces across the globe. a silent connection giving rise to multiple emotions. A few weeks Wonders and worries ago,N this medium suddenly came to a standstill. On International Dance Day, celebrated on 29th April, With the country under lockdown, live performance we took the opportunity to conduct our first Facebook spaces closed. Empty stage, vacant seats. But the Live dance workshop with acclaimed artiste Aditi show must go on. And it did, with the NCPA and Mangaldas. It was a unique experience for me, which I many more cultural organisations screening their organised and attended – all from the confines of my archival treasures online. home. My helplessness at not being able to be physically As an arts manager at the NCPA, going online has present at the performance venue slowly turned into a given us the opportunity to add more art to the feeling mixed with wonder and satisfaction when over lives of our audiences. With live shows we were 200 people started engaging with the telecast as Aditiji only able to reach out to people who physically visit went live from her home. As she went from one step our venues, but the digital presence has helped us to the other, carefully explaining each stance, all the take our shows to the lady who perhaps has never while addressing 200 students without seeing them stepped out of her kitchen. from her empty room, I wondered how the art itself is changing with the venue. When I spoke to Aditiji about Personal engagement the experience, she said, “My living room has become My grandmother would listen to the radio as she my stage and I look for audiences within me. Maybe this cooked. Those memories of Indian classical music immersion will help us reach out over dots and dashes drenched in her mild spices still linger in that Nrityagram Birju Maharaj across the globe.” space. Growing up, her kitchen was a space that I With opportunity comes the necessity of focussed connected with good art. An experience dotted research and planning so that the presentations do with explanations of ragas or stories of wondrous justice to the art and the artiste. And with that also sadhanas of acclaimed artistes as she chopped comes the question of sustainability. away, which was no less than a course in music I know that the NCPA and other organisations appreciation for a young mind. She always missed that ticket their shows have put in a lot of effort in not being able to watch dance performances. Today, cultivating the habit of paying for good art. With a she would have been happy. lot of content now being shared for free – though Every time we have a screening of our music and a beautiful way of reaching out in such tragic dance shows, we have audiences sharing photos of conditions – there is also a growing concern over this themselves – at their homes, with their kids watching habit being lost. Though in most cases, the box office a classical performance. Going online has created a collection for classical arts performances barely covers the expenses of putting up the show, this participation from the audience in acknowledging Mallika Sarabhai the efforts and years of hard work put in by the artistes is important. It is important to that young kid sitting with her parents watching Indian classical dance with a paid subscription to believe in her dancing talent and that it matters to the world as much as her skills in solving trigonometry. So what kind of content then should be made available for free online? It is tough to answer this. Probably something which cannot be recreated or has been extensively performed (and some investment has been recovered). New content (unless supporting a cause) should be reserved for the special person who shows respect to the process of creation through subscription.

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ago. However, the problem is that smartphones and believes, but is quick to add that nothing can replace tablets automatically compress the sound and most a live lesson. “I think that online teaching will mainly The Learning Never Stops annoyingly, compensate for the sound which means remain a supplement. There are elements of physical the dynamics of playing suffer as the software is teaching like correcting the posture or position From the May 2020 issue of ON Stage: In the absence of classroom lessons, the SOI Music designed for speech. So, the pianissimo or fortissimo of hands that cannot be transferred in a virtual Academy shifts gears and switches to online teaching, bringing together musicians and students does not reflect on those gadgets realistically as environment,” Gallyamova agrees. Shakir is sure under one virtual roof. they adjust them to mezzo piano or mezzo forte. As that despite all the enhanced interactivity, students a result, the dynamic band is artificially very narrow miss the academy and rehearsals. “Some teachers although it still gives a good idea may not have modern gadgets, of the intonation and rhythm.” “If anything, the but they have experience and the Some apps address this problem, desire to seek excellence. Our one of which is now being used by number and duration principle is to work on the result, the SOI and the academy. “You will of lessons have only in any way possible. Of course, be able to judge the sound on the the presence of gadgets and WiFi newly released online recording increased,” says greatly facilitates the lessons, but of the second movement of Marat Bisengaliev their lack does not affect them too

“I cannot remember having seen such unusually intonation, and for tracking the text of what he/she prolonged, testing times for so many countries, is playing. For younger students, she sometimes including India, where I work, and France, where records videos of their works on the instrument after I have my family,” says SOI Music Director Marat a lesson, explaining which part of the bow must be Bisengaliev about the changed world we have found used to play what kind of notes, with which fingers, ourselves in. But as we adapt to new ways of being, etc. The orchestra’s violinist and teacher Gulzara life finally seems to be moving on in areas it possibly Shakir points out another use of online lessons. can. It certainly is at the Symphony Orchestra of “They are helpful in working with students who need India, where work towards future programming and regular monitoring,” she says. Yulia Gallyamova, SOI making the most of online resources is underway. In cellist and teacher, is also using the time to follow music education, a key area of the orchestra’s work, up on lessons previously given to students. Group the temporary suspension of classroom teaching has theory lessons and topics like the history of music evolved into a virtual learning space, where teachers have lent themselves easily to the online modes of A student of the SOI Music Academy taking lessons online have created a system of imparting daily lessons to teaching, even as the teachers have been sharing students of the SOI Music Academy. “If anything, the listening and reading lists with students. “Now is a number and duration of lessons have only increased,” unique opportunity to listen to music and visit great says Bisengaliev. museums and theatres online,” says Shakir. A part of the lessons at the academy is training for the Palladio, which is a joint effort of the SOI and much.” Possibilities of the web concerts, which has now given way to preparation academy students,” Bisengaliev informs. The SOI Bisengaliev echoes the views of the teachers when The online classes are conducted for individuals as for recordings. Recently, musicians of the SOI came is also exploring possibilities of conducting music he says there is no substitute for the tactile aspect well as groups. “The lessons of the student’s specialty together for their first online project from the appreciation workshops online. of learning, orchestra sessions and chamber music. are given in the usual one-on-one mode, but the confines of their homes, overcoming the challenges He, however, is positive that the interactive element approach depends on the teacher and student. of distance, time difference and varying internet Technology, a supplement will stay even when classroom teaching resumes, Solfeggio is a group lesson, for which the teacher speeds to play Air by Karl Jenkins, now available With several musicians from across the world especially with the theory lessons. “I’m sure that this engages with students through the Zoom app in real on the orchestra’s social media pages. Bisengaliev making up the orchestra and the academy, the quarantine will kick-start the development of several time,” explains SOI cellist and faculty member at the speaks further about the technological hurdles. virtual teaching methods and aids employed during interesting and efficient online programmes and academy, Margarita Gapparova. She adds that the “The quality of the software available nowadays is this period could prove helpful in the event that applications,” he says, “and we should be a part of iPad is useful as a keyboard for gauging the student’s really good compared to what it was only five years a teacher or a student moves cities, Gapparova this development.”

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