In conversation with the masters
The fourth edition of Bengal Classical Music Festival wrapped up Tuesday night with a promise to return next year. During the festival, Arts & Entertainment caught up celebrated Indian classical vocalist Vidushi Shubha Mudgal and Ustad Wasifuddin Dagar, along with noted Bangladeshi dancer and choreographer Minu Haque for a brief interview. Excerpts:
In addition to classical music, you sing and experiment with other genres including Hindi pop? What do you think is your greatest strength as a musician?
Shubha Mudgal: I am formally anchored in khayal which is a part of raga sangeet and that is what I am most fluent with. The sense and the language of Ragadari Music as represented in khayal and thumri-dadra are, in a sense, my musical mother tongue. I was trained and brought up under the tutelage of some of the prominent gurus. So, in my childhood I was encouraged to listen to all kinds of music. Of course, I had my own preferences but I was never allowed to say “I don't like it”. Being brought up like that exposed me to all kinds of music.
And today I am able to listen to music from across the world and yet to be anchored in an age-old tradition which belongs to our region. This is a time where we have the best of the past and much more to look forward.
There's an age-old tradition of learning classical which is called the Guru-Shishya Parampara. How important is this tradition in teaching classical music?
Wasifuddin Dagar: Guru-Shishya Parampara in this part of the world is very essential. You get initiated to any form through your parents, and fortunately I was born in a family where there were so many musicians. I grew up seeing and listening to what my father was doing; it's like I started listening to music even before I was born. You sit in front of your guru, and in our tradition we are never supposed to ask questions since guru knows more than we do--that is the key. Guru knows what to give and when to give, and the disciple should also be prepared to what he is able to receive. It's not a five-year course; it's a learning process and you have to improve your musicality through it. When you teach you also learn; it's a non-stop learning process for the guru also. Guru opens you so that you make music on your own and you learn from your own perspectives.
How did you come with the idea of incorporating Rabindra Sangeet and patriotic song in your Bharatnatyam dance choreography in the opening evening?
Minu Haque: I primarily do Odissi dance, but I have also learned other dance forms including Manipuri. I have fascination for all classical dance forms-- be it Kathak, Bharatnatyam or any other form. When I went Kolkata to record music track for this choreography with noted music director Swapan Pakrashi, I requested him to include a Rabindra Sangeet. He suggested that I begin the salutation with “O Amar Desher Mati”. When it was done, I thought this is something that would bring tears to the audience's eyes. I had the intention of including “Ekti Bangladesh” in my choreography. This came to my mind before I was thinking of doing the choreography. When I was doing that I was thinking about my country and its people.
Comments