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July 2017

ON Stagevolume 6 • issue 12

BANDISH CELEBRATING LEGENDARY INDIAN COMPOSERS NCPA Chairman Khushroo N. Suntook

Executive Director & Council Member Deepak Bajaj

Editorial Director Radhakrishnan Nair Contents Editor-in-Chief Oishani Mitra

Consulting Editor Ekta Mohta 10 Editorial Co-ordinator Hilda Darukhanawalla

Art Director Amit Naik

Deputy Art Directors Hemali Limbachiya Tanvi Shah

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Materials in ON Stage cannot be reproduced in Features part or whole without the written permission of the publisher. Views and opinions expressed in this magazine are not necessarily those of the publisher. All rights reserved. 08 Reflections NCPA Booking Office 14 On the Hay Festival. By Anil Dharker A Tenor From 2282 4567/6654 8135/6622 3724 Amar Muchhala is that rare Indian artiste www.ncpamumbai.com who is entering the world of opera on the 10 international stage The Versatile Exploring the vibrant cultural heritage of two doyens of Hindustani classical music – Gajananrao Joshi and Jagannathbuwa Purohit 17 – through odes, memories and anecdotes. Sax and the City By Samira Bose Mumbai-based saxophonist Ryan Sadri and 26

the motley group that makes up his band are “non-jazz 34 musicians who love jazz”. By Into the Wild Shivani Bhasin Hira Punjabi has covered 80 per 20 cent of India’s wildlife canvas 20 with his lens 28 Indian Music at the NCPA In this new series, we go 38 behind-the-scenes of the New Tidings several arts departments at When Shankar dreamed an the NCPA. This month, we talk opera, and Wasfi Kani dreamed to Dr. Suvarnalata Rao, Head – a new opera house. By Ashutosh Programming for Indian Music Khandekar 26 40 The Shape Shifter The Saliyamangalam Plays The multifaceted theatre Mohan Khokar describes director Faezeh Jalali is the plays as redefining what the stage can performed in Saliyamangalam, be with her out-of-the-box Follow us on: ideas. By Benaifer J. Mirza facebook.com/NCPAMumbai 43 @NCPAMumbai 30 Programme Guide NCPAMumbai For the Love of All of July’s events at the NCPA dancer Shubhada youtube.com/user/TheNCPAMumbai1 Varadkar and dancer pinterest.com/ncpamumbai Shama Bhate are set to reinvent 50 one of the most central figures What’s Next of . What to look forward to in the We look forward to your feedback and suggestions. Please do drop us an By Shayonnita Mallik coming months email at [email protected]. COVER STORY Padma Talwalkar The Versatile

GurusExploring the vibrant cultural heritage of two doyens of Hindustani classical music – Gajananrao Joshi and Jagannathbuwa Purohit – through odes, memories and anecdotes.

By Samira Bose

he trajectory of music and its oral history is replete with stories of teachers passing on their legacy to their pupils through intense and cherished interactions, ones which carry into the popular imagination along with the musical notes. is characterised by the - shishya or teacher-student relationship, which requires years of rigorous engagement. The tradition is both continued and reconstructed by those involved in the learning process, and requires a conversation with all the different dimensions of Tthe genre. This is exemplified by stalwart musicians, Gajananrao Joshi and Jagannathbuwa Purohit, who have made deep impressions through their creative compositions and live on in memory as individuals that excelled as vocalists, instrumentalists, and most importantly, as gurus and composers. into a musical notation (sargam) Jagannathbuwa Purohit ensured style that is unique. For Gunidas, Gajananrao Jagannathbuwa Joshi at an early age, and this fostered that he would dedicate himself Purohit aka it was the ‘rang’ or colour of the a sharpness and keen memory entirely to being a steadfast Gunidas music that transcended all other that his students praise far and student. It was this precocious considerations, and he definitely wide. Padma Talwalkar, renowned perseverance that earned him the added livelier hues to the genre of Indian classical vocalist and title of ‘Gunidas’ or ‘worshipper of Hindustani classical music. recipient of the virtue’ from his gurus. Perhaps it Akademi award in 2016, studied was such a background that led Padma Talwalkar will present under him for seven years. She to Gunidas being known for his compositions of Gajananrao Joshi reminisces about the strength precise focus on the unadulterated and Gunidas on 7th July at the of his recollection, amusingly passage of musical knowledge, Tata Theatre, under the festival of mentioning how possessive along with a simultaneous openness Bandish, which will run from 7th to musicians would not invite him to to innovation. By emphasising on 9th July. hear their new bandishes because authenticity as well as individuality, he could remember them almost he strove to imbibe and imbue a instantaneously. He was driven meticulous desire for detail. With A WORD FROM OUR by a “pure devotion”, Talwalkar trained roots in Indian percussion, SUPPORTER emphasises, and constantly wished Gunidas is an iconic figure as a Gajananrao Joshi (1911-1987) to push the boundaries of his vocals Hindustani classical vocalist. He, As a bank that deeply connects A love for music often echoes During as well as instruments. She owes too, is predominantly celebrated with the heritage of the country, within families, and children her skills in khayal composition to for the manner in which he instilled having been in India since 1853, learn the reverberation of rhythm Gajananbuwa’s Gajananbuwa, and still remembers a musical ardour into all those who By emphasising on it is indeed a matter of great at an early age. Gajananrao every word he said to her in their studied under him. pride for us to be associated Joshi (affectionately known as performances, sessions, even after 30 years. “For Gunidas was trained in the Agra authenticity as well with Bandish, the festival that Gajananbuwa) was born into a listeners would him, the most important thing was . The gayaki of the Agra celebrates the best of Indian family of musicians. His father, the anand [pleasure] of passing on gharana is a combination of khayal as individuality, classical music. This festival Anant Manohar Joshi, was a khayal often experience the the [knowledge]. He worked and dhrupad-dhamar, and that seeks to ensure that Indian vocalist from the Gwalior gharana, for the sake of the art itself.” She is why Gunidas chose to work Gunidas strove to classical music is not only under whom Gajananbuwa learnt, complex taans in a highlights how he was a “khayali with a variety of teachers. Born in imbibe and imbue accessible to a large audience, while his grandfather, Manohar, had kalaakar” or creative artiste and Hyderabad, he learned the tabla but is also passed on to the next studied dhrupad and dhamar. And blissfully simple way would welcome interpolations. under Ahmed Jan Thirkawa. He a meticulous generation. With the changing yet, Gajananbuwa’s training did not Taking into consideration his learnt initially from Mohammad Ali socio-economic and cultural remain limited to that of his family, underlying, ingenious impulse, it Khan, and then later from Shaboo desire for detail context, the rich and diverse but extended to teachers from other is no surprise that he is credited Khan. His musical meanderings traditional repertoires of Indian as well. Broad training was as a pioneer in the use of violin in found him in the house of Agra classical music are not getting an inherent part of Gajananbuwa’s of the Jaipur gharana under Bhurji Hindustani classical music. As an dynasty’s illustrious singer, Vilayat the attention they deserve. To assimilative styles and rendering, Khan, and later the rapid, rhythm- instrument, the violin provided him Husain Khan. Their connection is preserve this legacy for the and it is precisely such exposure based nom tom gayaki of Agra with sufficient scope to display said to have been instantaneous, how “Guruji always liked to be future, HSBC has supported that made him a renowned vocalist, gharana under Vilayat Hussain his aggressive rhythmic work and and a profound atmosphere of surrounded by his disciples, fellow the NCPA’s project to train violinist, composer and guru. Khan. It is said that true genius lies in a visceral, wild fervour that was symbiotic learning blossomed artists or admirers”. Gregarious disciples by masters of different As a vocalist, Gajananbuwa began being open to new knowledge even palpable to the audience. As an between the two. In fact, the and encouraging, Gunidas ensured gharanas, where selected his journey at home but was clearly as one ages, and Gajananbuwa was exceptional teacher, Gajananbuwa connection that existed between that his students participated masters mentor students in the attracted to the complex knowledge in his late forties when he tutored ensured that his disciples continued them surpassed the traditional independently in mehfils. An traditional style, providing them that Ramakrishnabuwa Vaze under Vilayat Hussain. Audiences the traditions of the musical styles he guru-shishya bonds and fostered exceptional element of the Agra with unparalleled learning and (popularly known as Vazebuwa) and reviewers have vouched for his taught them. While he won a number an environment in which both were gharana is its captivating layakari. the opportunity to showcase had of the Gwalior gharana. One of discernment, and stated that not of awards, including the Sangeet publicly beholden to one another Gunidas himself worked tirelessly their talent. HSBC believes the key lessons Gajananbuwa learnt even a hint of his mixed training Natak Akademi, his achievements when it came to their musical to develop newer renderings heritage and culture are the from Vazebuwa was how to unfold a could be sought in the clarity with shine through his long list of erudite compositions, as opposed to only of traditional ragas. Having a very essence of the values of raga in a concert. As a result, during which he sang compositions from students. Apart from Talwalkar, he the shishya being beholden to the penchant for rare ragas with highly a society and therefore need Gajananbuwa’s performances, each gharana. He even learnt tabla taught notable musicians such as guru. Thus, despite his beliefs in evocative melodic configuration, to be nurtured. In keeping with listeners would often experience from Vinayakrao Ghangrekar. His vocalists Ashok Ranade, Shubhada maintaining traditions, Gunidas was he composed several of them, this, HSBC has been closely complex taans in a blissfully simple music, therefore, be it vocal or Paradkar, Kaushalya Manjeshwar flexible, and is remembered by his Jogkauns and Jaun Bhairav to associated with the NCPA since way. He started composing out of instrumental, reflected a beautiful and violinists Shreedhar Parsekar students for his eclectic personality. name a few, and followers across 2015 to support Indian classical necessity; to have a wider repertoire amalgamation of the simplicity of and Datarji (to name a few). His Singer and composer G. N. Joshi gharanas have been influenced by music. I would like to thank in slow and medium tempo, both in the Gwalior gharana, the complexity versatility manifested itself in his studied under Gunidas for ten years. his outstanding compositions. the NCPA team for their deep common as well as uncommon ragas of the Jaipur gharana and the personality as a guru, and all those He has written that “he was equally Gunidas’s legacy carries on commitment and efforts in the such as Malkauns, Gaud Malhar, Pat robustness of the Agra gharana. who studied under him worked to liberal in imparting knowledge. He through his students, who are full preservation of Indian culture. Bihag, Nat Kamod, Purva etc. He It is clear that Gajananbuwa spreading the musical passion that was prepared to offer his entire of praise for him. These include We are proud to be a part of was driven by a desire to constantly was prodigious from a young age, ran through his veins. treasure of knowledge to his Jitendra Abhisheki, Ram Marathe, Bandish, and I hope you will grow, and his choices came as since learning the techniques of disciples – they only had to have the C. R. Vyas, Bhai Gaitonde etc. He enjoy the festival. much out of intellectual curiosity as just one gharana can expend an Jagannathbuwa Purohit capacity to receive and imbibe what fostered inspiration, imagination – Stuart P. Milne, CEO & Group a need to create novel avenues in entire lifetime, and he mastered (1904-1968) he gave”. Apart from discussing his and innovation, especially in the General Chairman, HSBC India the musical realm. He, thus, started three. He started working on At a time when teachers were teacher’s humour and obsession manner in which he reconfigured studying the structured precision translating the musical phrases strict, whimsical and demanding, with cooking, Joshi accentuates dynastic principles to produce a ARCHIVES

collapses. He is then accorded a lot of coincides, as advised in religious lore, Every play opens with importance, with song and arati, after the appearance of a with the time when it is neither night which the play comes to a close. The boy wearing the mask nor day. The makeshift stage erected of Ganapati mask of in each village for the play is quickly dismantled and The Saliyamangalam plays is a special one, and regular worship two wooden cut-outs representing a ON Stage brings you excerpts from the NCPA Quarterly Journal, an unsurpassed literary archive that ran is offered to it by devotees. It is kept pillar are planted in position. The man in the temple, where it is displayed playing Narasimha, who is already in a from 1972 to 1988 and featured authoritative and wide-ranging articles. Mohan Khokar describes the prominently, except in the case of state of semi-trance, is brought behind Bhagavata Mela plays as performed in Saliyamangalam, Tamil Nadu Saliyamangalam where it is part of the the pillar. At the appointed time and, household shrine of a Bhagavatar and to the accompaniment of clamorous is offered adoration along with the music, chanting and fireworks, the From the time it attained common with his The song includes the telling words: idols of , and Lakshmana. pillar splits open and Narasimha recognition some 30 years ago, it mother Lilavati in Achyutapuramuna Saliyamangala Before the presentation of Prahlada emerges in all his glory and fury. has generally been held that the Prahlada Charitram agraharamuna sutinampunanu. Charitram on the opening night Nothing of this kind is found in any of tradition of staging the sacred Saliyamangalam lies 15 km at Saliyamangalam, images of the the other villages. Bhagavata Mela plays, which are to the east of on the presiding deity Srinivasa along with Another unusual feature in structured in the strict classical Nagore line. It is commonly held those of and Bhoodevi are Saliyamangalam is that in Rukmini mould, is confined that the plays enacted in Bhagavata carried in procession around the Kalyanam, when the presentation is to only one place – the village Mela, in all the six villages, are by village and then deposited on an over in the morning, two young boys, of Melattur in the Thanjavur Venkatarama Sastri of Melattur. But altar, which faces the stage specially who are in no way connected with district. So much so that in some this theory has now been discarded. erected for the event. Songs in praise the play, are dressed up as Krishna quarters, the tradition itself is In Saliyamangalam, for example, the of the deity called tattuchutru are sung and Rukmini and their marriage is known as that of the Melattur plays are by Bharatam Panchanatha by the Bhagavatars. Arati is offered to performed. They are then taken in a plays. That is because the foremost Bhagavatar, who lived long before the deity by the performer privileged procession round the village to the authorities and scholars in the field Venkatarama Sastri, and there are to take the role of Narasimha in the accompaniment of music and song. have continually harped on the other authors to whom the plays play. The presentation begins with the They are received at each house by Melattur theme, and others have are ascribed in the other villages. Bhagavatars singing the todayamangalam, The art of the male members of the family who wash found no reason to contest it. Also Five dance-dramas are attributed to an invocation, as they proceed from the their feet as also those of the escorting the leading master in the style, Balu Panchanatha Bhagavatar: Prahlada stage to where the deities rest, weaving a Bhagavata Mela Bhagavatars and then sprinkle the resultant Bhagavatar, now over 90 years of Charitram, Rukmini Kalyanam, passage through the seated audience, and water, considered holy, on themselves as age, belongs to Melattur, and that Sita Kalyanam, Rukmangda and then return to the stage. This is followed by nataka came into well as on their family members. Women of has certainly lent an added lustre Vipranarayana. These are in Telugu the dance of a small boy wearing the mask the house offer candy, betel leaf, plantains and stature to the place. The correct – as indeed all Bhagavata Mela are of Ganapati. As the play unfolds, each being about 400 and camphor to the two and perform arati. picture, however, has emerged – and they were composed at the principal character is introduced after the If the tradition of Bhagavata Mela only during the last five years or so, time of Vijayaraghava of Thanjavur’s singing of a couplet, through which the years ago, under today survives at Saliyamangalam, the which discloses that the Bhagavata Nayak dynasty. It is claimed that for appearance, attributes, temperament and credit for this is due, in no small measure, Mela practice survives in two other a long time all the five plays were so forth of the character are spelt out. Also, the patronage of to D. Sethuramayyar who died about villages as well – Saliyamangalam performed annually. However, each character makes their appearance the Nayak rulers of 25 years ago. He came from the line of and Teperumanallur. This article while the other five villages followed dancing to a daru, a song descriptive of the Panchanatha Bhagavatar, the author of the pertains to the tradition as it is in the custom of staging the Bhagavata character. Most of the female characters Thanjavur Saliyamangalam plays. A keen musician Saliyamangalam. A CASE OF CONFUSING NAMES Mela plays only at the time of Narasimha adopt the devadasi mode in their costumes. and scholar, Sethuramayyar composed It may be recalled that the art of It is generally believed that the Bhagavata Jayanti; in Saliyamangalam they were also The male characters wear pyjamas and whose role continues to be played only by about 100 kirtanams that carry his Bhagavata Mela nataka came into being Mela tradition was initiated by Achyutappa staged on . For many years knee-length coats or dhotis and some of individuals from a particular family. ‘Achyutapuram’ and also wrote an abridged about 400 years ago, under the patronage Nayak (1572-1614), who gifted a village to now, for want of a sufficient number of them sport turbans. On the day prior to Narasimha Jayanti, version of the in Telugu. After of the Nayak rulers of Thanjavur. The certain families for the avowed participants as well as of funds, only two In between sequences, the Bhagavatars the believed to be inherent in him, the responsibility is being shouldered tradition took root in six villages, all in purpose of promoting art and learning in plays, Prahlada Charitram and Rukmini sing songs to provide links to the story. A the mask of Narasimha is transferred by his sons, S. Raghavan and S. Srinivasan, the district of Thanjavur – Melattur, general and the dance-drama tradition Kalyanam, are presented at the time of sabdam, which gives the kernel of the story, temporarily, through certain ceremonies who play the parts of and Soolamangalam, Saliyamangalam, of the Bhagavatars in particular, and Narasimha Jayanti. is offered before the commencement of the and rites, to holy water kept in a pot. his wife Lilavati respectively in Prahlada Oothakadu, Nallur and Teperumanallur, that this village, then named after its play proper, and while the Bhagavatars The mask is then dislodged, washed and Charitram. S. Raghavan retired as a station and at each of these places the plays, benefactor, Achyutapuram, later came to THE OPENING ACT sing the lines, the sutradhara renders repainted. All this is done in secrecy superintendent in Southern Railway while written especially for the art, were be called Melattur. However, the people of The festival being in honour of Narasimha, abhinaya for them. Likewise, there are for great sanctity is attached to the S. Srinivasan is an income tax officer in staged once every year, on the occasion Saliyamangalam maintain that Melattur it is understandable that the leading play in specially composed songs to preface key proceedings. In the evening, elaborate Cuddalore. Which is just as well, for not of Narasimha Jayanti, which is observed was originally known as Unnatapuram the tradition, in all the villages, is Prahlada situations in the unfolding of a story. These rituals known as pranapratishta, even a single actor-dancer in Bhagavata in May or June. None of the villages has and that it is their village that constitutes Charitram, and it is with this that the sabdams, stotrams and the like are superb sahasranamarchana and deeparadhana are Mela, in all the privileged villages, is a maintained an unbroken tradition of the endowment made by Achyutappa and festival opens. In the climactic sequence pieces, both poetically and musically, performed by a large gathering. The power professional artiste, a fact which endorses presenting the plays – there having been that originally enjoyed the appellation, of the play, a performer wearing a mask and constitute a feature exclusive to of Narasimha is again transferred to the the claim that the art is performed not both sporadic spurts of activity as well Achyutapuram. To substantiate the of Narasimha makes his appearance, and Saliyamangalam. Formerly, the main mask. No such practice is followed in any by way of entertainment but as a moral as long years of neglect. In recent times, claim, they refer to the invocatory song, after confronting the atheist father of characters of the drama were portrayed by of the other villages. obligation hallowed by usage. the villages of Melattur, Saliyamangalam handed down to them through several Prahlada, Hiranyakashipu, delivers an persons belonging to only certain families The play begins at about 10 pm and and Teperumanallur are known to have generations and sung even today at the impassioned harangue during the course who had, what may be called, a hereditary Narasimha makes his appearance around This article first appeared in theNCPA regularly offered thenatakas as part of local temple at the commencement of any of which he works himself up to a pitch right to the roles. The practice has now 4.30 the following morning. It is ensured Quarterly Journal in December 1983 ordained worship, for around 40 years. event of marked religious significance. of uncontrollable frenzy and invariably ceased, except in the case of Narasimha, that the manifestation of Narasimha (Vol. XII, No. 4).

40 • July 2017 NCPA NCPA July 2017 • 41