In focus: Problems of classical music

Satarupa Basu
11 September 2006

Recent times have witnessed a spurt of young talent in Indian classical music. This has silenced pessimists who have been screaming hoarse about the decline of classical music. What are the hurdles young performers face in their profession? What are their expectations? Do today’s performers need to create opportunities to earn a living? All these issues and more were discussed in a two-day seminar (August 29-30) organised by the ITC Sangeet Research Academy held in the Academy building.

Veteran vocalists Girija Devi, Dipali Nag, Ulhas Kashalkar and Vijay Kichlu and sarod player Buddhadev Das Gupta shared the dais with musicians of the younger generation, vocalist Ashwini Bhide Deshpande, sarod player Tejendra Narayan Majumdar, tabla player Tanmoy Bose and Bikram Ghosh and sitar player Purbayan Chatterjee.

It is not enough for musicians to confine themselves to their forms. They should be able to create opportunities to earn a respectable living. Bose felt that the non musical factors like the students sartorial sense, behaviour and audience management were important in sustaining themselves. He added that they should also be equally adept in areas such as sound editing and music arrangement for lucrative career options.

The seminar made room for discussion on the importance of stage presentation, electronic equipment and knowledge of computers – aspects that today’s musicians should deem necessary for a successful career. Chatterjee felt that while it was necessary to ensure that one’s riyaaz remained unhampered, it was also worthwhile to keep oneself abreast of alternatives of travel as these were essential parts in a performer’s life.

Taking the cue from Bose, Majumdar highlighted the performer’s requirement to learn how to deliver short piece for films, documentaries, commercials and jingles.
Though Deshpande was willing to accept scientific innovations like the electronic tabla or the tanpura to suit modern needs, she felt that they could not replicate the finer nuances of a real tanpura or yield the benefits that riyaaz with a genuine tabla player would.

Amit Mukerjee, Executive Director of Sangeet Research Academy, moderated the session on the second day. The experts debated over whether learning should be imparted through video conferencing. Kashalkar felt that the teacher should be able to listen to the student sitting in close proximity. Only then would the lesson be of value.

The prima donna of the Benaras gharana, Girija Devi, observed, “Pehele ghar mein batti jalao, phir bahar ke taraf dekho, (let us light the lamp in our homes first, before looking beyond)”, she said. She called on santoor exponent Satis Vyas, who is also the artistic director of Navras Records, to include stalwarts alongside young musicians in the concerts he organizes as well as the albums he releases. “This is the only way the music can be taken to the masses (as well as the students of classical music) and the money generated by them used for constructive purpose.”
Reminiscing about Bismillah Khan, her bade Bhaisaab, Girija Devi said, “Ek nakshatra ka patan ho gaya (a leading light is gone)”.

A resident of Kolkata for many decades now, Girija Devi still returns to Benaras every once in a while. “Woh to mera janmasthan hai. Wahan mera Ganga maiyya hain, Vishwanath hain, kitne yaaden hain, main kaise chhor sakti hun woh sab? (It’s my birthplace, I have my Ganga there and my Lord Vishwanath. I have so many memories of Benaras, how can I forget all that?)”, she said. “Mein yahan bachhe log ke liye hun (I’m here in Kolkata for my young students), to inspire them,” she said with characteristic humour.