Iremember watching a TV programme once featuring sarod virtuoso Pandit Buddhadev Dasgupta’s interaction with a group of visually-challenged students who were eager to know about Indian classical music. The maestro didn’t begin by explaining ragas. He first lightened the mood by making his sarod emanate funny sounds as if they were being made by humans. The children obviously relished the exercise and once they got familiar with the sarod, Dasgupta started explaining ragas to them. Later, talking to a reporter, Dasgupta said if he had directly started with the intricacies of ragas, the children would have got bored. So he first acquainted them with the instrument by bringing himself down to their level of understanding and then gradually led them through the matrix of intricate learning. I still remember what he said, “Create an interest first. Subtleties can come later.”
It is the time of the year when Bangalore, Chennai and many other southern cities see an upsurge in classical music concerts. This is the time that one sees hordes of youngsters given to western pop and rock thronging such concerts. Now, the maestros must understand that this is the right time to wean youngsters from the hip-hop culture and infuse a sense of our own musical tradition in them. This can only be done if they explain what classical music is all about. Sometimes, I see more youngsters flocking Hindustani classical music shows than Carnatic ones. I found that most exponents of Hindustani classical music tend to be more listener-friendly. Before embarking on a performance, they explain what they are about to sing or play and even keep explaining things in the midst of performances. This leads to a performer-audience connect and helps in creating interest.
Back in the late 1990s, I recollect Chennai-born renowned violinist N Rajam performing at the famous Rajgirh Mahotsava in Bihar. She played raga Hamsadhwani, found in both Carnatic and Hindustani traditions. Rajam took time to explain the notes of the raga, chalan (movement) and how it creates scope for meticulous alaaps. The audience, I remember, listened in rapt attention and indeed many said that they left the venue enriched and enlightened. At the end of the day, that’s what matters. When the love for classical music is fast fading, it’s up to the maestros to infuse the element of interest not merely among aficionados, but among listeners at large.
(N Raghuraman is an editor with DNA)
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