When feeling becomes healing...
MANJARI SINHA
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The Spic Macay's winter convention brought together the leading lights of the world of melody.
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PHOTO: ANU PUSHKARNA
CARRYING ON THE LEGACY Ritesh and Rajnish Mishra's performed at the Spic Macay's event.
To facilitate an appreciation of the Indian classical and folk arts and their deeper values, Spic Macay (Society for Promotion of Indian Classical Music and Culture Amongst Youth), holds lecture demonstrations and performances of music and dance on a regular basis, but the annual conventions are important events because they reaffirm the need to conserve and promote an awareness of the rich cultural tapestry of our land to the youth. The winter convention this year was held at the Salwan Public School, Gurgaon, from December 21 to 25.
The inaugural evening was flagged off with Uma Sharma's Kathak recital and the sitar concert of Shahid Parvez.
The weeklong event presented Ustad Fahimuddin Dagar's Dhrupad, Guru Singhjit Singh and Charu Sija's Manipuri and Kapila Nangiyaar's Kudiyattam dance performances along with a folk evening by Teejan Bai and Hansraj Hans.
But the overnight extravaganza on the 24th with artistes like Ustad Asad Ali Khan (Rudra veena), Bhajan Sopori (santoor), Venkatesh Kumar (vocal), Niladri Kumar (sitar), Ritesh and Rajnish Mishra (vocal duet) was a big hit.
Treatment by sur
Prior to his concert, Ustad Asad Ali Khan also talked about treatment by `sur', when the vaidya would suggest his to patient in the good old days, to go to a particular guni (gifted) musician and listen to a particular raga sung or played by him for 40 days. The vaidya would be so sure about the musician's true swaras and the raga's healing effect. Ustad Asad Ali Khan's raga Darbari that followed on his Rudra veena was worth believing what he said about the `taseer' (the positive effect) of the `sur.' His delicate treatment of the Ati Komal Gandhar and its aandolan was a connoisseur's delight. He, in fact, started with Om through the swaras of raga Darbari in the mandra saptak on his Rudra veena, and it literally sang the sound of Om.
The meditative alap-jod-jhaala created the atmosphere of the serene raga, before he started the Dhrupad bandish (composition) in the 12-beat cycle of Chautaal. The elaborate treatment of the raga and the gamak taans were impressive. He also played a drut (faster) composition set to a 10-beat cycle in continuation of the dhrupad.
Pandit Daal Chand Sharma gave him able support on the pakhawaj, answering his nuances like a true musician at heart.
Raga Bihag
Venkatesh Kumar from Dharwad gave a delightful vocal recital, next. He opened his concert with raga Bihag presenting the famous bandish "Kaise sukha sove... " in vilambit (slow) Ek tala. He once again proved that there is definitely something special about the soil of Dharwad, which has produced musicians like Mallikarjun Mansur, Kumar Gandharva, Pandit Bhimsen Joshi, Gangu Bai Hangal and Basav Raj Rajguru.
Avinash Sharma on the harmonium and Prasun Chatterji on the tabla gave him stimulating support.
The intensive sessions with Ustad Sabri Khan (sarangi), Ustad Fahimuddin Dagar (Dhrupad), Guru Singhajit Singh (Manipuri dance), Kapila (Kudiyattam), Teejan Bai (Pandavani), Dadi Padumji and Anis Siddiqui exposed the students to the kind of people who have dedicated their lives to the pursuit of their art with single-minded devotion.
The ashram-like atmosphere and schedule during the weeklong convention, where the day started at 4 a.m. with yoga and swara sadhana, the holistic healthy food, workshops, lecture-demonstrations and the choicest of concerts must have enriched the participants with the absorption of the Indian ethos in a real sense.
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