Posts Tagged ‘Indore’

In Quest of Conservation

11.15.13

To view details of participants & proceedings visit page Seminar Raga Conservation

Since its inception, Madhukali orchestrated its activities, based on music practice, teaching and principles of Dr. Lalmani Misra. RagSem1In the past decade it has been more concerned with community of musicians and educationists, instead of individual performers. The reason for this shift was due to (initially subconscious) response to change brought in attitude towards and treatment of Indian Classical Music. As the market forces tried to bring it into main-stream, individual musicians were turned overnight into stars and brand-ambassadors. The strategy did not succeed in increasing revenue to any worthwhile level but it did bring in a change in attitude of general public and of the musician – be it a learner, teacher or performer.

Since 2007, Madhukali with support of Omenad, has been working to raise awareness of artistes, teachers and aesthetes about the necessity of safeguarding the knowledge of music that for millenniums has been transmitted orally (but also bolstered with text, even though there are periods of gap). Artistes, composers, craftsmen, scholars, aesthetes and enthusiasts have been approached and informed about the necessity of their active support towards safe-guarding of Indian musical heritage.

It is a matter of understandable pride and joy that community has begun to exhibit response to Madhukali’s exhortation. Music department of a Government College at Indore is the first such institution to examine the idea of conservation as applied to Indian Music.  The institution proposes to organize a national seminar, sponsored by Uniersity Grants Commission on January 31st and 1st February 2014. The area to be discussed is, “Raga – Conserving  Musical Heritage of India”.

The science or discipline of artistic musical expression is embodied in Raga-s. Raga-s, in turn depend on certain self-evident principles, such as Shadja-Pancham Bhav (Perfect interval ~ Pythagorean cycle of the Fifth) and consonance of ninth-thirteenth Shruti. As after stabilization of Shadja, Jaati-Gan turned to Prabandh, the principle of Raga consolidated into Ten Lakshana-s.

Technology allows multiplicity at all levels. As number of listeners and the variety of music they could now access increased, the area for innovation and experimentation available to composers and  artistes too increased several folds. These modern changes began to impact traditional practice of classical music.

RagSem2The element of “intangible” finds its best expression in music. Most invisible, music is the fundamental art-form that manifests the conscious mind. Safe-guarding, conservation and preservation are all abstract ideas expressed through concrete line of action. Once we understand how to safe-guard the element of intangibility in music, we might have a lead on how to safe-guard its expression in other practices.

The essence of intangibility rests on the attitude or mind-set. While obedience was an intrinsic given, it was the time spent by Guru with Shishya that transferred this from elder’s mind to younger without any loss. It is the intangibility involved in  this passage of right attitude, that music exhibits its primacy as vehicle of the intangible. Not only the content, but the form needs equal attention for the art to survive.

It is for its determination to examine the various facets which have contributed to formation, carriage and preservation of Raga that this particular conclave of scholars is worth watching. Madhukali hopes that even as this first show of concern by the Classical Music community is an important step – if only for raising visibility – forward, the discussions too would contribute to better understanding of the act of safe-guarding.

Interested scholars may send their queries and submit their abstracts & papers at raga@madhukali.org  For submission of fee and registration etc. contact suvarna_wad@rediffmail.com

Download Brochure 
The deadlines are:

Submission of Abstract (only soft-copies accepted):     28th December 2013

Submission of Paper (pdf & doc using UTF fonts only):  15th January 2014

Registration (along with applicable fee) on or before:    28th December 2013

Abstracts submitted & approved within time-frame would be included in pre-Seminar publication.

Durlabh Raga Prasang: Conserving Complex Content

01.28.12

Idea, practice, appreciation – this is the cycle involved in creation and enjoyment of art. Expression itself holds a great value in the artistic process. Change in external circumstances, in living conditions, have honed human skills and instincts. The aesthetic element manifesting itself through numerous practices had been taken for granted. It was only as we bid adieu to second millennium that need to protect and nurture this spirit was recognized. “Art as Vehicle of Intangible” was therefore chosen as topic worthy of artistic deliberations. Pt. Rajshekhar MansurMadhukali organized annual Omenad Conference on 31st December, 1st January and 2nd January 2011 with performances by various scholar-artistes leaving lasting impression on aficionados of Bhopal. Music lovers, scholars and enthusiasts had travelled from across country to attend conference and concerts during three-day event organized by Madhukali in collaboration with Indira Gandhi Rashtriya Manav Sangrahalaya. Several well-wishers and music-lovers had expressed their desire for organization of another such event and at cities other than Bhopal. In discussing the essence of Indian aesthetics in “Art as Vehicle of Intangible”, it had come out that more opportunities must be created for expression of art in keeping with sensibilities innate in Art, to effect course-correction.

In the domain of Indian Classical Music the urgency for safeguarding of traditional practices needs to be recognized. For it to be vehicle of intangible, Art needs to be regularly displayed. It was recognized that the there are two main areas where safeguarding efforts have to be directed.

Read the rest of this entry »

Concerts for Conservation

12.23.11

Performances by various artistes during Omenad Conference on 31st December, 1st January and 2nd January 2011 left a lasting impression on aficionados of Bhopal. Music lovers, scholars and enthusiasts travelled from across country to attend conference and concerts during three-day event organized by Madhukali in collaboration with Indira Gandhi Rashtriya Manav Sangrahalaya. Several well-wishers and music-lovers had expressed for another such event and at cities other than Bhopal.

In keeping with its philosophy to collaborate with like-minded bodies, Madhukali consented to cooperate with an upcoming cultural institution from Indore, Swar-Setu to present rare performances once again in both, Bhopal and Indore. Ethnomusicologist from Sonoma State University, Professor Laxmi Ganesh Tewari shall travel to India to perform in both cities. Madhukali, in all previous Omenad Annual Conferences had emphasized on the urgent need of safeguarding medieval and ancient Veena-s that over the past few decades have fast fallen into near obsolescence. The two forms of Veena that reached 20th century –  Rudra Veena and Vichitra Veena – have almost disappeared in 21st. Generational scions alone may find motivation to master these challenging ancient instruments.

Vichitra Veena was almost in oblivion when Dr. Lalmani Misra took it up and crafted a complete style for string instruments — Misrabani. Misrabani grants the instrument a unique identity. The string is freed from following human voiceand brings out unique elements beyond vocal cords. After his death in 1979, son Gopal Shankar taught himself and perfected the art of Vichitra Veena. Ragini Trivedi moved by the silenced Veena after sad demise of brother Gopal in 1999, vowed to regain its voice and trained herself to play Vichitra Veena in Misrabani style. Baha’ud’din Mohiuddin Dagar  son of famous musician Zia Mohiuddin Dagar was ingrained by his father to play Rudra Veena in dagarbani style. He represents the  Dagar lineage. First generations musicians have always enriched musical traditions; the art gains stability with generational artistes. Today, when globalization is changing dreams, mores and opportunities, such artistes are needed to keep their artistic traditions vibrant and current. Dr. Laxmi Ganesh Tewari too was trained by Dr. Lalmani Misra and was first to record vocal rendering of Sameshwari – a Raga consecrated by Dr. Misra to keep the knowledge of Samic notes alive.

 

Bhopal

Bharat Bhawan

7th January 2012

6:30 pm

Vichitra Veena          –         Dr. Ragini Trivedi (Daughter of Pt. Lalmani Misra) View Clip

Vocal Recital            –          Dr. Laxmi Ganesh Tewari  (Santa Rosa, California)

Indore

Preetamlal Dua Sabhagrih

8th January 2012

6:30 pm

RudraVeena                           –                           Bahauddin Dagar                                     

Vocal Recital                          –                           Dr. Laxmi Ganesh Tewari                    

For further information and reports, visit http://www.facebook.com/Omenad

Eager Fingers

09.19.09

While many of the students sat listening to Chandrakant ji’s recital, anecdotes and tips about listening and learning classical music, there was one who sat wondering whether she would have the courage when time came. She started off with a simple question and soon it was in the open that Vidhi Chag is herself a sitar player. It came as surprise to many and answer to a schoolmate’s query that why don’t young people play sitar? The generous artistes handed over their instruments with Ulhas Rajhans inviting Ajinkya Gandhe to accompany Vidhi.

View the youngsters perform as the maestros applaud.

 

How Hollow is the Cylinder?

08.23.09

By Shruti Tiwari

The conference room was jam-packed with interested students. It was an activity specially designed for them. In their routine classes, they learn about process of film-making and its technical aspects in fragmented details. This afternoon AATMA and Films4debate had brought them out of their classrooms for something which promises to be their chosen vocation. Dr. Akhilesh Singh introduced the coordinators of AATMA who explained why training for appreciation of arts is vital for a fuller existence. Some guests had also come including film-critics, journalists and professors from other discipline and institutions.

The film, a short documentary on issues related with bamboo, despite its relaxed pace kept everyone engrossed. The twenty five minute film seemed to end much sooner. The students were handed a questionnaire on the film and everyone started writing down their response. It is to their credit that none of the students seemed casual or disinterested. The questions dealt with communication of message and technical aspects that enhanced its appeal.

Dr. Akhilesh Singh set the ball rolling with his observation that the film did not establish a clear line of action for the people, despite presenting the problems related with bamboo pretty well. Karnika felt that the film hailed bamboo as ‘poor man’s timber’ while Pankhuri opined that it presented bamboo as an industrial alternative to timber. Bharat and several others agreed that the environmental message came out well as secondary concern. The issues were succinctly summed up by Prateek as promotion of (i) extensive use of bamboo, (ii) shattering related myths and (iii) raising awareness of bamboo as raw material for industry. Ritu Motwani bemoaned that though it was pointed out in the film that bamboo map and poverty map of India match pretty well, this was not discussed any further. Tarun agreed with the film that policies of government preclude bamboo industry from developing, but someone immediately pointed out that success story of a lady entrepreneur indicates governmental encouragement to the issue.

The students also marked certain areas as ‘grey’ and ‘fuzzy’. Tarun found that film fell short of depicting the effects of governmental policies and problems like flowering, on people related to bamboo industry. Purva found the ending abrupt because after such effective build-up, the audience expected a clear solution. Rohit felt that excessive close-up disconnected persons giving interview from background and mood of the film. Aayush seconded this opinion. This brought grunts of disagreement from many. Prateek remarked that neither was there any link to Jarwa-s, mentioned once in narration, in script nor in visuals. Runzhun felt that flowering of bamboo was again a superfluous issue mentioned without explanations.

Dr. Chandan Gupta, delighted with this opportunity of correcting his students refrained from making any immediate remarks. He introduced the technical aspects pointing out brilliant camera work by Nandan Saxena who is also the director of the film. This effectively removes any possible lack of communication between director and the cameraman. Students were at ease with technical aspects. They appreciated the angle and pace of the camera, though some did not feel comfortable with interviewees popping in and out of the frame. They all agreed that soulful use of flute enhanced the appeal of the film. Some were also charmed by the original chants of the natives trying to push rats out of the bushes. Kunal was moved by the chirping of birds; Rupak was impressed by the narration (by Jitendra Ramprakash). Someone found the shot of rat-tales quite forceful, but most students agreed that well-planned shot of bamboo being split by the lathe was most impressive. The discussion could have gone on and on, but Shri Dileep Gupte drew attention to the documentary being a film with limited goals. Almost everybody agreed that within this definition the film was complete. Dr. Chandan Gupta now pointed out that film like any other medium posses the ability to make specific communication, but like the others also has an existence beyond this limited role. One should not judge a film on delivery of information or outlining a plan or policy for action alone; how the filmmaker chooses to say is at times more important than what.

Kavita Bahl, co-director, wrote a measured script that accords this short production the fleeting quality which leaves viewers asking for more.

Recalling in Tranquility

08.15.09

I often wondered about the process involved in aesthetic experience. There are things that appeal to us naturally. If people we value appreciate the same thing we feel that our taste is commendable. Often such a taste goes against the preference of the masses. It was as student of literature that I developed an insight into the aesthetic process. Still, when it came to fine arts and that too music it became all too complex. A poem does not get fragmented when we talk about a particular image, but as we speak of a musical phrase we seem to undermine rest of the composition. More often than not, people find it difficult to pinpoint what musical part endears the whole composition to them. Further, to explain the combination of notes that would make a composition likeable is again a difficult thing. So, if we wish to tap aesthetic sensibility of children and nurture it along a desired direction what should we do?

To read more ……………………………….Swati on Tranquility

Malhar 2009

08.04.09

Appreciative Generation | 1 Aug 09

Appreciative Generation | 1 Aug 09

In January 2009, Madhukali had organized appreciation events in Bhopal and Indore. Students of Trinity Engineering College, Bhopal were addressed by Mr. G. Raj Narayan, an engineer-cum-musician of Bangalore and Veena player Smt. Radhika Raj Narayan. The engineering students were captivated by the lucid presentation of the speakers who narrated the story of how music and electronics merged empowering performers and learners of Indian music. Dr. Chandrakant Sardeshmukh gave lecture-demonstration at Music College, Indore and Science College Indore. Story-telling and recitation by poets were planned along with film sessions in the two cities. At a media institution, after a show of his documentary……  (Click here to read more)