A focus on the roots: Bihar Brothers

Bihar Brothers are sure the Dhrupad form ensures a sound musical grounding for the younger generation, finds Srivathsan Nadadhur.

June 23, 2016 05:35 pm | Updated October 18, 2016 12:48 pm IST - Hyderabad:

Manish Kumar and Sanjeev Jha

Manish Kumar and Sanjeev Jha

A select, yet privileged, gathering was soaked in a near-meditative space at Park Hyatt in Hyderabad, thanks to the presence of Bihar Brothers Sanjeev Jha and Manish Kumar at Dhrupad Sandhya. The musical event was organised to popularise the rare form of Hindustani music, given only few artistes perform the Dhrupad form these days.

The event wasn’t about just singing. The performers and organisers used the occasion to dwell upon the origins of the Dhrupad form that has visibly influenced a plethora of genres in Indian music. Manish Kumar and Sanjeev Jha, brothers united by music and not blood, took their time out for a conversation with The Hindu , just before their concert The name Dhrupad is derived from the words dhruva and pad (verse), where a part of the poem (dhruv) is used as a refrain.

Trained by the eminent Gundecha Brothers, the two weren’t truly inclined to learn Dhrupad music; they’d felt the form wasn’t conducive to learning. Only with increased exposure to quality concerts, did they take a step ahead. The Bihar Brothers have earned their degrees in music and also teach students in the whereabouts of Delhi. Music, from their experience, will reach students only when no particular time limits are set.

We then ask them about decreasing popularity of Dhrupad music and they’re quick to mention, “Now the only way to go is upwards.” Explaining the form’s significance, they state it was only a little reorientation in the Dhrupad form that turned one of their students into a popular jazz singer. An Indian Idol contestant who had been rejected for the lack of her classical base, came to them as a student. Once she got her foundation right, she has never had to look back.

Learning music also ensures a musically informed society, they say. “The half-an-hour they spend everyday to learn will only enrich their repertoire over time.” To popularise the form among the younger generation, they feel the gurus should try not to make the ‘learning’ seem difficult. “Many teachers or veterans are restricting the tradition to their families, even if the children aren’t keen on it. The child, despite being uninterested or even incapable sometimes, goes onto become a performer. But, what purpose does it serve?” they ask.

They point that the education system should be liberal enough to promote musicians. The two have come across several situations where they were asked by their near and dear, “What do you do beyond music?” To counter this, they mention that music deserves a place in the school curriculum, and not merely as another co-curricular activity. “It’s strange a student is exempted from a foundation to music which can serve as a stress buster, while subjects such as Mathematics, Science and languages have their own space. It’s unfair that a student has to turn towards a diploma course outside formal educational institutions to learn musical nuances.”

Various media also restricted the reach of Dhrupad form, they add. They cite the example of film music that has existed only for 80 years but is very popular with masses. “It’s because of radio or even television glorifying the genre. Except for DD channels, do we see platforms that promote classical music?”

It’s only because of Akbar that a Tansen got his actual due, they elaborate.

“We’re not expecting much, but classical music needs some promotion of our roots.”

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