ON VIEW, THE MOST TALENTED & WORTHYTORCHBEARER OF SHENIA GHARANA DEBASMITHA BHATTACHARYA ON SARODAND AN ELECTRIFYING TRILOCHAN KAMPLI ON TABLA‘AROHI’ AND ‘AVIRATHA’ jointly organized an in-house Sarod Recital by Debasmita Bhattacharya of Kolkata on 30 August 2015 evening.
Before I explore on the concert and the artistes, I
would rather opine on the rich legacy and lineage of Guru-Shishya Parampara
without which one ought not expect such matured performances from youngsters
who are going places.
“Guru Shishya Parampara” or
the teacher - pupil relationship is an important part of India’s teaching
tradition. In ancient India most of the knowledge was passed on from the
teacher to his pupil through oral tradition, this oral tradition of passing
knowledge is known as the “Guru Shishya Parampara”. Indian classical music is
still largely dependent on this tradition. In the “Guru Shishya Parampara” the
student lives with his guru or teacher. The student learns different aspects of
the music mostly through observing his guru and by following his oral
instructions. Although due to emergence of institutionalized training, now in
many parts of the world Indian classical music is being taught on the basis of
a particular syllabus. But still “Guru Shishya Parampara” is the preferred
method. As we know every tradition has its pros and cons and so does this
tradition. The “Guru Shishya Parampara” is a very ancient teaching method and
thus, in the course of its development it has evolved some unique techniques to
accommodate different needs of both the teacher and the student. Let us now
discuss the strengths of this tradition. The first thing that happens during
this teaching process is the formation of a unique mental bond between the teacher
and the student. This deep bonding is absolutely essential when someone is
learning an art like music.In this teaching tradition the student gets the sole
attention of the teacher. Even if there are many students studying under one
teacher it is possible to impart training to each and every student separately.
There is no particular time or format of a class. A lesson may be learnt by
just observing a concert or performance of the teacher. The time of imparting a
lesson is at the discretion of the guru. This method helps to maintain the
traditional aspect of Indian classical music. A guru who belongs to a
particular gharana (or school of music) will pass on the traits of this gharana
to his shishya or pupil and over a period of time the shishya absorbs all the
necessary traits and style of this gharana and in this way the cycle continues.
Another striking feature of this tradition is
its ability to teach spontaneity. Yes, spontaneous improvisation techniques are
taught through this tradition. This is possible due to the fact that this
tradition does not lay down a fixed format for teaching so; it varies from
person to person, from teacher to teacher. So, improvisation is inherent in
this tradition.From the above stated facts we get a clear picture of the strengths
of the “Guru Shishya Parampara”. The student learns only from one teacher and
thus, looks at all the aspects from only one vantage point.
Absence
of a structured teaching method makes students more vulnerable to failures. This
tradition is particularly helpful for imparting practical lessons. It does not
help in learning the theoretical aspects of the subject. Overdependence on a
single teacher. We must not forget that teachers are human beings and their
strengths, weaknesses, mood swings, perception and overall personality become
important factors at the time of teaching. However, the present form of “Guru
Shishya Parampara” does not strictly adhere to the principles of this
tradition. It rather uses some basic concepts of this tradition along with
modern teaching methods and techniques. By using a MP3 player, iPod or digital
recorder a student can now acquire more details in lesser time. Youtube and
other such internet mediums have opened up vast archives of Indian classical
music records of the past 100 years or so through which students can
simultaneously learn and enrich their knowledge base. So, the scenario has
changed quite a bit and we can expect to see more changes in the coming years.
“Guru
Shishya Parampara” is still very much essential for Indian classical music. It
has not lost its credibility due to the emergence of new technology or
institutionalized training system. What is needed today is a fusion of “Guru
Shishya Parampara” with institutional training. New technology
and equipment can further increase the effectiveness of this
tradition. We must not forget that this is a time tested method. With
spontaneity and improvisation as its key ingredients, it is destined to play
even a bigger role in shaping the future of Indian classical music. So, the scenario has changed quite a bit and we can expect to see more changes in the coming years.
Debasmitha's
Bade Guruji, Pandit Buddhadev Das Gupta was born in Bhagalpur , Bihar , on 1 st
February, 1933 . He cannot claim any glorious musical heritage – his
grandfather, a hardboiled advocate was totally averse to music. Buddhadev's
father, Shri Prafulla Mohan Das Gupta was however highly inclined to music but
could not engage in any sort of musical activities because of his father's
stern opposition. However, he was a fairly good amateur singer, and Buddhadev's
mother as well took lessons in sitar playing for quite a few years. Being a
government employee, Buddhadev's father was transferred from place to place,
but wherever he went, he became a close friend of the local musicians and
invited them to his home. In spite of the frequent musical soirees at home,
Buddhadev did not have a very early stirring of music in him. His disciple and
Debasmita Bhattacharya’s father Pandit Debashish Bhattacharya under whose
tutelage, Debasmita started learning Sarod at a very tender age of Four. One
ought to thank these uncanny Sarod Masters and Legends to have brought out the
best in Debasmita of what she is today in the annals of Pure Indian Classical
Music.
The amount of dedication
shows in her deftness and control over the difficult Sarod instrument while
bringing out to the fore the shades of Shenia Gharana. She started the concert
with an elaborate Raag Jhanjhooti for nearly an hour, displaying an
unbelievable imagination that enthralled the discerning and followed it up with
a Bandish in Raag Jog, my favorite. At the end, popular Tumri of Vocal Exponent
Girijadevi evoked much applause for its rarity while Debasmita showcased her
spontaneous singing talent so neatly presented, to my surprise. An in house
concert brings about all the gamut of emotions that be and I wasn’t spared
either. While the artiste on view is not exactly playing to the gallery unlike
in an auditorium, there’s lot of scope to get into a quick act. Debasmita, a
research scholar in ITC Sangeeth Research Academy of Kolkata holds lot of
promise for the GenNext and undoubtedly counts among topnotch performers of her
generation without semblance of doubt. With her frequent music demonstrations
and workshops all over the country, she’s already earned a following of her
own. Traversing thro Sweden on Indo-Swedish Cultural Exchange during July 2015
adds to her experience and many ensuing events are just an indication of how
bright and beckoning is her future.She not only happens to be one of my close
young associates but also a keen learner who dazzles wherever she treads. Of
all the happenings during 2015 up till now, hers was the most anticipated
concert, the first time ever in Bangalore which I was very much looking forward
to and I was overjoyed to see what was my most ardent effervescent chip of a
musically inclined family is all about. She dint disappoint me either in the
truest sense.
About
the Percussive accompanist Trilochan Kampli, my young collaborator brother in
toe, lesser said the better. He’s a live wire performer who has enthralled
connoisseurs all over at a very young age. All his credit be obligated to his
mentor and Guru Tabla Maestro Late Sri Basavaraj Bendigeri under whose
tutelage, Trilochan Kampli is counted upon the first-rate Percussionists of his
generation. Young & innovative, he brings about all that Tehrav and true
Layakari redolent of a blooming wizard of our times. The underplayed chemistry
between these two exponents did make all the difference to the concert. His
innate understanding lies in sync with protagonist’s mind and always
pleasurable to watch. He brings about such unnerving energy onto the stage with
his sheer brilliance and finesse.
Last
but not the least, I must compliment my good friend and accomplished vocalist
Soundamini Venkatesh to have provided the choicest place ever for such small
mehfils. Undoubtedly her abode is perfectly unique in few ways with all the
right things falling in place for such affectionate show. Arohi and Aviratha
are the reason behind this event.
It will
be unfair on my part should I not thank Debasmita Bhattacharya to have
performed here - as I personally wished it would happen one day and it’s indeed
a reality now – and Trilochan to have clinched in good spirit. I must also
thank my close kins Dinesh Kumar B.V & Nagaraj Aithal P.R for their active
participation alongwith scores of music enthusiasts assembled therein without
whom the concert would have been lackluster
