Uday Bhawalkar is a standard bearer for Dhrupad, and a strong force in its growing recognition and popularity. Uday believes that when immersed in the note and raga, the self disappears and music takes on its own existence; the principle of ‘darshan’. These values are helping him on the path of devotion to Dhrupad. Dhrupad is one of the oldest forms of North Indian classical music and Uday maintains its majesty and subtle nuances. Dhrupad is a living and evolving classical music tradition. Uday has developed a unique style deeply embedded in raga ras and bhaav.
Dhrupad is one of the oldest forms of North Indian classical music and Uday maintains its majesty and subtle nuances. Dhrupad is a living and evolving classical music tradition. Uday has developed a unique style deeply embedded in raga ras and bhaav. This brings a creative melodic addition to the precise intonation and pronunciation characteristic to the Dhrupad style. Uday spent over 12 years studying and living in the traditional guru-shishya parampara with Ustad Zia Fariduddin Dagar (Vocal) and Ustad Zia Mohiuddin Dagar (Rudra-Veena), the towering pillars of the Dhrupad tradition. During this period there was a simple and complete concentration on the music itself. This intimate relationship, in which the Ustads willingly gave their inner secrets along with Uday’s devotion, brought him to a deep sense of completeness and wholeness.
An inspiring, significant moment in this period was when Ustad Nasir Aminuddin Dagar, the eldest of the Dagar family, upon first hearing Uday’s performance in 1987, blessed him with a gold medal. Uday has an engaging style and is able to reach out and communicate with audiences of all backgrounds. Since his first performance at Bhopal in 1985, Uday has performed in a number of prestigious festivals and events in India and abroad. Uday has also collaborated with artists from other disciplines and cultures including the contemporary dancer Astad Deboo, Ensemble Modern in Germany and musicians from Spain, Georgia and the USA. Uday has been blessed by Ustad Zakir Hussain who accompanied him on the Pakhawaj at the Prithvi Music Festival, Mumbai. Additionally, Pandit Suresh Talwalkar and Shri Sukhvinder Singh Namdhari have accompanied Uday on the Tabla in a number of concerts. Uday has contributed to the soundtracks of International Art films including Mani Kaul’s “Cloud Door”, Aparna Sen’s “Mr & Mrs Iyer”, Amol Palekar’s “Anahat”, Renuka Shahane’s “RITA” and others. Aside from being a performing artist, Uday is a very sensitive teacher and has a devoted following of students committed to pursuing the path of Dhrupad.
His workshops have been hosted by Universities in India, Europe and the USA. His workshops are always stimulating and he is supportive of all participants’ efforts whether they are professional musicians or small children. In 2012, Uday became an empanelled Guru at the ITC Sangeet Research Academy in Kolkata. The ITC SRA is one of India’s most recognized musical institutions for its contribution to Hindustani Classical musical education. Uday has also received prestigious awards including the Kumar Gandharva Samman given by the Chief Minister of Madhya Pradesh (2001) and the Raza Foundation Award (2007) given personally by the eminent painter, S.H. Raza.
Uday believes in gaining the state of “sahaj”, being equally at ease in concerts large or small. While teaching, Uday creates a nurturing environment for his students and continues to bring a new life to the ancient tradition of Dhrupad. For Uday, every musical act is a blessing and a stage on his life’s journey.
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Dhrupad – Ek Vichar
The direction given by my Gurus and my own experiences has prompted me to share my thoughts about Dhrupad in this article.
The music of India was, in the past, broadly classified into two streams, Margee (Rag-Sangeet) and Desi sangeet. Dhrupad is a musical form prevalent since the early evolutionary stages of Indian classical music (Margee sangeet) and derives from the sound of Omkar, considered to be the origin of nad (sound). Lord Shiva, believed to be the first Dhrupad musician, also inspired many rishis (saints) and munis(ascetics) to follow suit. Some well known Dhrupadiyas (Dhrupad musicians) are Swami Haridas, Baiju Bawra, Tansen, Nayak gopal, Nayak Bakshu.
Through the ages, Indian classical music has always been a path for seekers of Self Realization. Dhrupad is deeply rooted in this tradition of introspection. It diverges in its thought process and presentation from other forms of classical music, while the concepts of swar (note), raag, taal, niyam, spontaneity and expression are identical. Indian culture has been embraced in multitudinous ways resulting in numerous musical traditions. Consequently it would be unsuitable to confine Dhrupad to a strict definition. The variety lent to the genre by the manifold gharanas has enriched it.
Vocal and instrumental Dhrupad musicians, have invariably leaned on the subtle detail and sensitivity of the Tanpura and Pakhawaj. Vocal rendition has developed hand in hand with Dhrupad on the Veena. An instrument unique in its capacity to produce subtle microtones, it has been largely relied upon in understanding the concepts of meend (slide between notes), ghumara (resonance), shruti (particular shade of a note) and swarasthaans. So central is the Veena to Dhrupad, that the vocalist is sometimes referred to as the GatraVeena (the Body Veena).
Dhrupad singers and Veena players have thrived in a symbiotic relationship, inspiring as well as complementing each other’s creativity. Vocal and instrumental presentation is very similar and both use the multi dimensional medium of Aalap and Bandish (composition).
Dhrupad aalap is sung by combining sound syllables such as Aa, Ra, Na, Naa, Ree, Noom, Tey, Ta, systematically to produce a meaningful dialogue with the notes of the Raag. These syllables come from Vedic chants and lend great beauty and structure to aalap phrases. The aalap expresses the texture of the swar (note) and its many feelings (ras and bhav) paves the way for the journey from swar to nad.
The exclusive use of aakar (producing an “Aa” sound while singing) and sargam (singing notes by their names: Sa, Re, Ga, Ma, Pa,
Dha, Nee) is avoided. Aalap calls for a subtle and delicate treatment of notes in the raag, while also allowing them complete freedom of expression. Different shades of the raag manifest in the renditions of the jod and jhala following the aalap.
These constructs, usually faster in pace, deliver a perspective on the raag and note usage, distinct from the aalap. The same notes as used before, appeal to different sensibilities. However the increased pace is not the only defining idea behind the jod and jhala.
Dhrupad compositions are traditionally set to one of Chautal (12 beats), Dhamar (14 beats), Jhaptal (10 beats), Sooltal (10 beats) or Tevra (7 beats) taals (rhythmic cycles). The predominant themes are Bhakti (devotion), Shringar (love) or descriptions of sangeet shastra. Performance of the bandish, comprises largely of spontaneous improvisations within the taal framework, called upaj.
Upaj gives the musician plenty of scope to creatively paint the mood of the Raag and composition using the lyrics, notes and rhythm. It is hence not limited to doubling or tripling the rhythm, or even just finishing on the sam (first beat of the taal).
Dhrupad gharanas are known as ‘banis’, from the Sanskrit word for speech - vani, and refer to the style of performance. Most Khayal gharanas have been parented by Dhrupad musicians.
Over the last century Khayal has largely represented the classical music of Northern India. A misconception I have often come across is the idea that Dhrupad is a rigid genre that limits scope for the individual’s creativity. While any art, inclusive of its rules will always be an oceanic domain that none can conquer, it is the genius of the artist that pushes the limits of this universe. Hence, considering any artform to be rigid is passing a parochial judgement on it. That Dhrupad is something other than classical music, is fallacious. Other such misguided ideas include:
* It is a masculine art form and cannot be practiced by women.
* The mood of all Dhrupad compositions is limited to courageous overtones (Veer ras).
* Dhrupad performance is primarily about the playing with complicated rhythms. This technique maybe part of a performance. It may also be characteristic of some gharanas, however it cannot be applied to the genre as a whole.
* Raags Kafi, Khamaj, Bhairavi etc. are not part of this genre.
* It is limited to certain raags
* Dhrupad aalap is only sung using the syllables Nom and Tom.
* The syllables Te, Ta, Ra, Na, Ree, Na etc. derive from the tradition of Tarana.
* Every Dhrupad composition is required to have four parts, the Sthayi, Antara, Abhog and Sanchari.
* Dhrupad literature (sahitya) covers a narrow range of subjects.
The aim of this article is to bring light to the understanding of Dhrupad music. Dhrupad is verily a royal path, delving deep into the study of the swar (note) and Raags. The endeavor, on this illimitable journey, is to understand the strength behind the swar and its multiple facets and to recognize its divinity.
Uday Bhawalkar
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