Drumbeats from heaven
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In the ongoing series on accompanists, meet pakhawaj exponent Mohan Shyam Sharma.
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ALL FOR THE PAKHAWAJ Pandit Mohan Shyam Sharma
Music is nobody's property. You don't need to belong to a musical family to make a successful career in music. These encouraging words are commonly spoken by sensible gurus to their disciples, but for each one they carry a special significance. As they do for Mohan Shyam Sharma, disciple of Pandit Tota Ram Sharma of Mathura, whose contribution to the propagation of the pakhawaj is legendary.
"There are not many artistes like him in the country. He teaches for free, accommodates students at his home. He has been so generous in sharing his music. He told me that I too must teach like this, not with money as the prime incentive," says Mohan Shyam, whose youthful looks belie the depth in his eyes. They are the eyes of a man who has `seen' the greatest music being created, who has dedicated his life to riyaaz (practice) but knows that once he goes on stage, his hands are in the hands of God.
"Sangat ke liye kya kya seekhna padta hai. (You have to learn untold compositions to be a good accompanist.) But you never know what the main artiste will decide to play. You have to do your best while making spot decisions." That is not to say, adds Mohan, that solo playing is easy, but accompaniment requires anticipation and a willingness to blend with another's art. "I began learning the pakhawaj at the age of 14," he relates. "My guru Pandit Tota Ram ji is my uncle. He was the only one in the family to take it up professionally. I was always attracted to classical music. At 12, I would listen to it on All India Radio. I was never drawn to light music or watching films. Even today, I hardly ever watch TV. But, yes, I do have a weakness for sports and watch cricket."
When his guru brought him from to Delhi and recommended him for the Sangeet Natak Akademi scholarship at 15, Mohan was on his way to becoming a professional. It was 1981. After a childhood spent in Mathura-Vrindavan, it was a distinct change. "Yes, the atmosphere was totally different. There is more of a spiritual mahaul there. But my guruji told me, `It would be great if you managed to do your practice yet remained aloof from this atmosphere'." s
Later he continued his training under Pandit Prem Ballabh of the Kathak Kendra. At 17 Mohan was selected by the Dagar brothers, Naseer Zaheeruddin and Naseer Fayyazuddin Dagar to accompany them on their concert tour abroad. As a youngster he hesitated, and `well-wishers' advised the celebrated vocalists against taking such risk. Yet the duo insisted that the new generation had to be given a chance, even as established artistes were to be appreciated.
"I never expected I would get to accompany the artistes I have had a chance to perform with," says the percussionist who has also accompanied Kathak under the direction of Pandit Birju Maharaj and Guru Munna Lal Shukla but was never tempted to take up the tabla despite the greater earning opportunities it offered. A regular accompanist of Rudra veena exponent Ustad Asad Ali Khan, he has also accompanied flute concerts of Pandit Hari Prasad Chaurasia and sitar concerts of Pandit Ravi Shankar. "Every artiste has an individual style. I played with all the seven artistes of the Dagar family. Each had his own approach though they belonged to the same gharana. Similarly with other musicians. All in all, though, it gives me great pleasure to play with the Dagar vani, be it the Dagar family or someone else from the gharana," says Mohan, who looks forward to the day when India offers more employment opportunities for pakhawaj players to draw in younger artistes.
ANJANA RAJAN
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