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Kings of Dhrupad

Think you need trained ears to listen to Dhrupad music? Love for music is enough to savour and learn the art form, famous musical duo Gundecha Brothers tell Ashwin Krishnamoorthy

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Umakant and Ramakant Gundecha, famously known as Gundecha Brothers, are the modern giants of Dhrupad. Having expanded the repertoire of iconic Dhrupad performances with their jugalbandis in national and international music festivals, one could expect the exponents to be guarded, even protective about the rich musical legacy that often suffers a reputation of being 'musician's music', a sound too elite for the average listener. But the brothers are as full surprises, as they are of sur. 

Both vouch that contrary to popular belief,  the oldest form of Indian classical music is one of the easiest to learn. In Mumbai this weekend to perform at Tata Trust's cultural intitaive 'Kalapana', the duo insist that what one needs in order to perform the great art form are unflinching devotion and lots of practice. Ramakant reveals that Dhrupad's origin goes as long back as it's roots in the Sama Veda and that the form is also credited as the originator for the southern sibling of Hindustani classical, Carnatic classical music. 

“Dhrupad has the profound ability to connect the soul with something beyond worldliness, impacting one spiritually,” offers Ramakant, as brother Umakant underlines that the cogitative state, or trance, is experienced not only by the performer but also by the members in the audience. 

Practising Dhrupad is rigorous, not merely in terms of holding the notes in any octave, but in mastering control over your breathing. Asked whether novices would need yoga lessons, Umakant surprises me again. “It’s the other way around. Similar to ‘kumbakha’ or ‘rechaka’ pranayamas in yoga, Dhrupad has breathing practices subsumed within.” 

The Padma Shri awardees are each blessed with powerful vocal identities. Yet, when they sing together, it all coalesces into one beautiful harmony. Their training, under the great Dagar brothers, Zia Fariduddin Dagar and Zia Mohiuddin Dagar, started in 1981 and there was conscious effort to get them to sing in unison while retaining their uniqueness.

Though Dhrupad has remained true to its classical nature for hundreds of years, there are dangers of it being cannibalized by modern forms. But the brothers take comfort in the fact that Hindustani classical, especially Dhrupad, still attracts students not only from India, but from around the globe. 

To that effect, both brothers acknowledge the role of technology, which has shrunk space and time. Thanks to advanced video calling features (Skype), they are as comfortable imparting lessons to students in North America, as in their gurukul in Bhopal. 

In a new-found wonder, I mull over all the information. But the brothers are no strangers to the art sweeping people off their established notions about Dhrupad, or even music. Many a times while touring the world they have heard the Western audience exclaim, “We’ve never heard anything quite like this before!” Can one of the reasons why the West appreciates Indian classical form be its extempore nature? After all, while western classical pieces require intricate arrangements, Indian classical music concerts don’t necessarily require a rehearsal.

As the Kings of Dhrupad consider my theory, I conclude that a complete novice has to just listen to Dhrupad to realise there’s nothing complex about it. Because there isn’t. What is there is music that is simply beautiful.

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