Friday 15 July 2011

THE LIVING TRADITIONS OF DHRUPAD - Ritwik Sanyal

THE LIVING TRADITIONS OF DHRUPAD - Ritwik Sanyal

THE DAGAR TRADITION

The family history of the Dagars and the Dagargars   samdpradaya i.e Dagars . As maestrroes and their disciples and fans is a microcosm of the history of Indian Classical music. The continuity and contribution of the tradition of nineteen generations bears rich testimony to the cxcellencen of the Dhrupad style of singing and playing amongst the Dagars and their handful of disciples already performing on national and global level.

The han Dagarvani’s forte is the Merukhand   alap which is structured for singing on ten finesses   svara-laksanas) artistically named aakar,  dagar, dhuran,  muran,  kampita, andolita, lahak,  gamak, hudak, and sphurti.  As we make the myriad tonal patterns in alaap and dhrupad, we directly experience the joy it occasions. It relates to what existentially supports and surpasses us. The tonal vacillations are so subtle, so deep that they become hardly noticeable to the unskilled and untutored ears. Voice culture in this tradition is delicate and demands correct use of the microtones.  Also singing and rudra veena  playing have been together-one complementing the other. When the singer expounds the raga, all the finesses induce a field of mystical feeling, exuding the overall shanta rasa around the rasa of bhakti, adbhut  and shringaar.

THE DARBHANGA TRADITION

                   Seven generations back from now ( around 18th century ) two brothers named Radhakrishna and Kartaram went to Lucknow to learn music from Bhupat Khan, who was patronized by the Nawab of Avadh, Shujauddaullah Khan. No written evidence is there is corroborate this fact regarding Bhupat Khan. The brothers performed in Lucknow and the ruler of Darbhanga had a chance to hear them. He wanted to appoint them as court-musicians  but the Nwab was unwilling to part with them. Finally it was settled to stay for six months in Lucknow and Darbhanga each in a year. A huge jagir of 1200 Bighas of land including the villages of Amta, Gangadah and Narayandohat was bestowed on them. All the descendents were ever since attached to the Darbhanga court . The Mallicks and the Pathaks represent this tradition mainly representing dhrupad and pakhawaj. The owe its connection to the Gauhar vani.

Depth and sobriety of tone-production, richness in the repertoire of compositions, profuse use of gamaks in fast laya, use of layakari in simple compositions which abound in excellence of the qualities of the tradition.

THE VISHNUPUR TRADITION

The Vishnupur  Gharana started in Bengal with the discipular lineage of Bahadur Khan of the Senia Gharana in the 18th century, began with Ramshankar Bhattacharya and took shape and flourished with innumerable Dhrupadias of eminence for almost two centuries. The tradition is gradually vacillations are so subtle, so deep that they become hardly noticeable to the unskilled and untutored ears. Voice culture in this tradition is delicate and demands correct use of the microtones.  Also singing and rudra veena  playing have been together-one complementing the other. When the singer expounds the raga, all the finesses induce a field of mystical feeling, exuding the overall shanta rasa around the rasa of bhakti, adbhut  and shringaar.

THE DARBHANGA TRADITION

Seven generations back from now ( around 18th century ) two brothers named Radhakrishna and Kartaram went to Lucknow to learn music from Bhupat Khan, who was patronized by the Nawab of Avadh, Shujauddaullah Khan. No written evidence is there is corroborate this fact regarding Bhupat Khan. The brothers performed in Lucknow and the ruler of Darbhanga had a chance to hear them. He wanted to appoint them as court-musicians  but the Nwab was unwilling to part with them. Finally it was settled to stay for six months in Lucknow and Darbhanga each in a year. A huge jagir of 1200 Bighas of land including the villages of Amta, Gangadah and Narayandohat was bestowed on them. All the descendents were ever since attached to the Darbhanga court . The Mallicks and the Pathaks represent this tradition mainly representing dhrupad and pakhawaj. The owe its connection to the Gauhar vani.

Depth and sobriety of tone-production, richness in the repertoire of compositions, profuse use of gamaks in fast laya, use of layakari in simple compositions which abound in excellence of the qualities of the tradition.

THE VISHNUPUR TRADITION

The Vishnupur  Gharana started in Bengal with the discipular lineage of Bahadur Khan of the Senia Gharana in the 18th century, began with Ramshankar Bhattacharya and took shape and flourished with innumerable Dhrupadias of eminence for almost two centuries. The tradition is gradually . The tradition is gradually disintegrating in Bengal and there are very few practicing Dhrupadias today trying to preserve this tradition.

THE BETTIAH TRADITION

The Bettiah tradition is noted for its originally and excellence ,  being famous for the Singh  brothers – Anand and Navalkishore. All the four vanis were sung in Bettiah, the Khandar and Nauhar vanis being rather more highlight. It became more popular in Bihar and Bengal. The interwoven patterns of svar-tala-pada in its complexity determine the Bettiah Dhrupad. The original beauty lies in the unity of all the technical characteristics in the Dhrupad performances which are short and pleasing.

THE TALWANDI GHARANA

Alone Dhrupad tradition of Talwandi Gharana is practiced today by Mohd. Afzal Khan and  Ustad Hafiz Khan of Lahore. They identify themselves with the Khandarvani. Alaap and Dhrupad for them are religious in an Islamic guise. Alaap has four stages – Sariat, tariqat, haqiqat and marafat. They also have extremely fast concluding portions of alaap and pre-composed rhythmic variations in che’gun and ath’gun.

THE TEMPLE TRADITION

The temple tradition of Dhrupad encompassing the Braj area is pivoted around Mathura and Vrindavan. The Haveli Sangeet characterizing the pustimarga was founded by eight poetic composers (astachap) o f Vallabhacharya sect. Today this is a well guarded tradition of pada-oriented dhrupad of the temples along with Lilagana  and Kirtana.
                    

Ritwik Sanyal


Visit  :   www.ritwiksanyal.in


*****

THE LIVING TRADITIONS OF DHRUPAD - Ritwik Sanyal

THE LIVING TRADITIONS OF DHRUPAD - Ritwik Sanyal

THE DAGAR TRADITION

The family history of the Dagars and the Dagargars   samdpradaya i.e Dagars . As maestrroes and their disciples and fans is a microcosm of the history of Indian Classical music. The continuity and contribution of the tradition of nineteen generations bears rich testimony to the cxcellencen of the Dhrupad style of singing and playing amongst the Dagars and their handful of disciples already performing on national and global level.

The han Dagarvani’s forte is the Merukhand   alap which is structured for singing on ten finesses   svara-laksanas) artistically named aakar,  dagar, dhuran,  muran,  kampita, andolita, lahak,  gamak, hudak, and sphurti.  As we make the myriad tonal patterns in alaap and dhrupad, we directly experience the joy it occasions. It relates to what existentially supports and surpasses us. The tonal vacillations are so subtle, so deep that they become hardly noticeable to the unskilled and untutored ears. Voice culture in this tradition is delicate and demands correct use of the microtones.  Also singing and rudra veena  playing have been together-one complementing the other. When the singer expounds the raga, all the finesses induce a field of mystical feeling, exuding the overall shanta rasa around the rasa of bhakti, adbhut  and shringaar.

THE DARBHANGA TRADITION

                   Seven generations back from now ( around 18th century ) two brothers named Radhakrishna and Kartaram went to Lucknow to learn music from Bhupat Khan, who was patronized by the Nawab of Avadh, Shujauddaullah Khan. No written evidence is there is corroborate this fact regarding Bhupat Khan. The brothers performed in Lucknow and the ruler of Darbhanga had a chance to hear them. He wanted to appoint them as court-musicians  but the Nwab was unwilling to part with them. Finally it was settled to stay for six months in Lucknow and Darbhanga each in a year. A huge jagir of 1200 Bighas of land including the villages of Amta, Gangadah and Narayandohat was bestowed on them. All the descendents were ever since attached to the Darbhanga court . The Mallicks and the Pathaks represent this tradition mainly representing dhrupad and pakhawaj. The owe its connection to the Gauhar vani.

Depth and sobriety of tone-production, richness in the repertoire of compositions, profuse use of gamaks in fast laya, use of layakari in simple compositions which abound in excellence of the qualities of the tradition.

THE VISHNUPUR TRADITION

The Vishnupur  Gharana started in Bengal with the discipular lineage of Bahadur Khan of the Senia Gharana in the 18th century, began with Ramshankar Bhattacharya and took shape and flourished with innumerable Dhrupadias of eminence for almost two centuries. The tradition is gradually vacillations are so subtle, so deep that they become hardly noticeable to the unskilled and untutored ears. Voice culture in this tradition is delicate and demands correct use of the microtones.  Also singing and rudra veena  playing have been together-one complementing the other. When the singer expounds the raga, all the finesses induce a field of mystical feeling, exuding the overall shanta rasa around the rasa of bhakti, adbhut  and shringaar.

THE DARBHANGA TRADITION

Seven generations back from now ( around 18th century ) two brothers named Radhakrishna and Kartaram went to Lucknow to learn music from Bhupat Khan, who was patronized by the Nawab of Avadh, Shujauddaullah Khan. No written evidence is there is corroborate this fact regarding Bhupat Khan. The brothers performed in Lucknow and the ruler of Darbhanga had a chance to hear them. He wanted to appoint them as court-musicians  but the Nwab was unwilling to part with them. Finally it was settled to stay for six months in Lucknow and Darbhanga each in a year. A huge jagir of 1200 Bighas of land including the villages of Amta, Gangadah and Narayandohat was bestowed on them. All the descendents were ever since attached to the Darbhanga court . The Mallicks and the Pathaks represent this tradition mainly representing dhrupad and pakhawaj. The owe its connection to the Gauhar vani.

Depth and sobriety of tone-production, richness in the repertoire of compositions, profuse use of gamaks in fast laya, use of layakari in simple compositions which abound in excellence of the qualities of the tradition.

THE VISHNUPUR TRADITION

The Vishnupur  Gharana started in Bengal with the discipular lineage of Bahadur Khan of the Senia Gharana in the 18th century, began with Ramshankar Bhattacharya and took shape and flourished with innumerable Dhrupadias of eminence for almost two centuries. The tradition is gradually . The tradition is gradually disintegrating in Bengal and there are very few practicing Dhrupadias today trying to preserve this tradition.

THE BETTIAH TRADITION

The Bettiah tradition is noted for its originally and excellence ,  being famous for the Singh  brothers – Anand and Navalkishore. All the four vanis were sung in Bettiah, the Khandar and Nauhar vanis being rather more highlight. It became more popular in Bihar and Bengal. The interwoven patterns of svar-tala-pada in its complexity determine the Bettiah Dhrupad. The original beauty lies in the unity of all the technical characteristics in the Dhrupad performances which are short and pleasing.

THE TALWANDI GHARANA

Alone Dhrupad tradition of Talwandi Gharana is practiced today by Mohd. Afzal Khan and  Ustad Hafiz Khan of Lahore. They identify themselves with the Khandarvani. Alaap and Dhrupad for them are religious in an Islamic guise. Alaap has four stages – Sariat, tariqat, haqiqat and marafat. They also have extremely fast concluding portions of alaap and pre-composed rhythmic variations in che’gun and ath’gun.

THE TEMPLE TRADITION

The temple tradition of Dhrupad encompassing the Braj area is pivoted around Mathura and Vrindavan. The Haveli Sangeet characterizing the pustimarga was founded by eight poetic composers (astachap) o f Vallabhacharya sect. Today this is a well guarded tradition of pada-oriented dhrupad of the temples along with Lilagana  and Kirtana.
                    

Ritwik Sanyal


Visit  :   www.ritwiksanyal.in


*****