Dhani Gundecha
Dhani Gundecha emphasizes the significance of the Guru-Shishya Parampara, a traditional teacher-student relationship, in preserving and nurturing the depth and meditative essence of dhrupad. She reflects upon growing up with her father and uncles of the Gundecha Brothers, surrounded by music her entire life, but only later coming to recognize its significance. The conversation concludes with a performance of Raga Jog alongside Anuja Borude on pakhawaj.
Pushparaj Koshti
Pushparaj Koshti shares insights from his musical journey, explores the spirituality of music, and highlights the significance of innovation and diverse perspectives in the music community. The discussion concludes with his mesmerizing performance of Raag Puriya Dhanashree in chautal, accompanied by Sanjay Agle.
Pushparaj Koshti shares insights from his musical journey, explores the spirituality of music, and highlights the significance of innovation and diverse perspectives in the music community. The discussion concludes with a performance of Raag Puriya Dhanashree in chautal, accompanied by Sanjay Agle.
Madhuvanti Pal
Madhuvanti Pal discusses her journey mastering the Rudra Veena in a male-dominated tradition, emphasizes the guru-disciple relationship, and encourages unity among musicians, emphasizing music's unique power to reveal emotions and urging collaboration over competition.
Madhuvanti Pal shares her journey of mastering the Rudra Veena while addressing the challenges faced by women in this male-dominated tradition and highlighting historical gender biases in classical music. She underscores the importance of the guru-disciple relationship, emphasizing music as a lifestyle, advocating for purity and honesty in performance, and encouraging unity among musicians within this tradition. Madhuvanti concludes by emphasizing music's unique power to reveal emotions and urges musicians to collaborate, leaving competition and ego behind to create beautiful music together.
Uday Bhawalkar (pt. 2)
Uday Bhawalkar explores "sadharani geet" and its link to the 13th-century musicological text Sangita Ratnakara, delving into the symbiotic relationship between vocal and instrumental music in dhrupad, highlighting their modern interconnectivity, and emphasizing humility in collaborative musical endeavors.
Uday Bhawalkar explores "sadharani geet" and its link to the 13th-century musicological text Sangita Ratnakara, delving into the symbiotic relationship between vocal and instrumental music in dhrupad, highlighting their modern interconnectivity, and emphasizing humility in collaborative musical endeavors.
Wasifuddin Dagar
Wasifuddin Dagar, a 20th-generation Dagar family singer, delves into the concept of anahata naad (unstruck sound) and explores the influence of his family's musical heritage, individual techniques, and the nuances of the Dagar Bani tradition.
Wasifuddin Dagar, a singer in the 20th generation of the Dagar family line, explores the concept anahata naad (अनहत-नाद) or unstruck sound. His comprehensive approach to dynamic expression is complemented by his deliberate creation of auditory space, allowing the silence within the music to resonate—an integral facet of the Dagar family's rich tradition.
Wasifuddin breaks down the influence of not just his father Nasir Faiyazuddin Dagar and his uncle Nasir Zahiruddin Dagar, who together comprise the Junior Dagar Brothers, but his whole extended family of musicians, as well. He talks about how an artist may emphasize techniques that suit their own character and personality. One technique he demonstrates is "spruti", a vocal imitation of a bell ringing-like sound brought from the veena into vocal expression. Wasifuddin also explains some of the unique tonal and linguistic characteristics of the Dagar Bani tradition which came from Behram Khan (his grandfather’s grandfather) and the importance of "ucchaaran" (pronunciation).
Wasifuddin breaks down his concept of the five Ps (pitch, pulse, pause, perfection and purity), as well as the seven seen and seven unseen notes in the music. Finally, the relationship of the performer to the raga as two individuals is briefly explored.
The interview and music final demonstration of Raga Miyaki Malhar are from dhrupad workshop at Santori Wellness Center in North Goa, thanks to Nitish Bhardwaj.
Uday Bhawalkar (pt. 1)
Uday Bhawalkar delves into the topic of performing with sahaj, a term used in dhrupad to describe performing with a state of natural ease or simplicity
In part one of our interview with Uday Bhawalkar, he delves into the topic of performing with sahaj (सहज), a term used in dhrupad to describe performing with a state of natural ease or simplicity, and the potential benefits of this musical practice. He also shares stories from his time studying with legendary gurus Zia Mohiuddin Dagar and Zia Fariduddin Dagar.
Bahauddin Dagar (pt. 2)
Bahauddin Dagar delves deeper into the concept of shruti and how even shadja (sa) and pancham (pa) can change from raga to raga.
In part two of our interview with Bahauddin Dagar, he delves deeper into the concept of shruti and how even shadja (sa) and pancham (pa) can change from raga to raga. He also reflects on the spiritual dimension of dhrupad and whether this music can be adapted and fused with other genres while preserving its essence.
The interview concludes with a rudra veena alaap in Raga Megh performed on the birthday of his father in 2022.
Meghana Sardar Kenjale
Meghana, a disciple of Uday Bhawalkar, discusses the importance of deep presence, concentration, and self-forgetfulness in becoming one with the sound.
Meghana, a young dhrupad singer and disciple of Uday Bhawalkar, discusses the importance of deep presence, concentration, and self-forgetfulness in becoming one with the sound. Meghana also explains how practicing repetition brings deeper meaning to the music and how the abstract syllables of alaap contribute to the universality of expression beyond language.
Meghana highlights the value of artistic individuality and diversity of viewpoints in dhrupad. She emphasizes the liberating quality of this music and its value to the community of artists and listeners.
Meghana concludes with a soulful alaap in Raga Bhupali and the bandish "Tuhi Surya, Tuhi Chanda" by Uday Bhalwalkar, from her home residence in Pune.
Meghana's Instagram: https://www.instagram.com/meghanadhrupad/
Bahauddin Dagar (pt. 1)
In part one, Bahauddin Dagar discusses what led him to dhrupad, his musical influences, and how one's personal character (स्वभाव , svabhaav) is expressed in this music.
In part one, Bahauddin Dagar discusses what led him to dhrupad, his musical influences, and how one's personal character (स्वभाव , svabhaav) is expressed in this music. The interview concludes with a rudra veena alaap in Raga Megh performed on the birthday of ZM Dagar in 2022.
On a personal note I want to thank Bahauddin for sponsoring my AIIS fellowship and hosting me at the Dhrupad House in Mumbai, the gurukul built by his father ZM Dagar. Without his support, this fellowship would not have been possible.