First appeared in www.scroll.in on April 4, 2015. The seven days starting from April 6 are observed as National Week in India to commemorate the widespread agitation against the oppressive Rowlatt Act passed by the British colonial government in 1919. The Act sought to strangle personal and public freedom by stipulating a series of draconian measures. The government action to quell all opposition culminated in the infamous Jallianwala Massacre in Amritsar on April 13, 1919, in which several hundred non-violent protestors were killed and wounded.
Blog Posts
First appeared in www.scroll.in on March 28, 2015. References to nature are commonly found in chaitis ‒ songs that celebrate Chaitra, the first month in the Hindu calendar, which began on March 21 this year. But some song-texts may not have any mention of natural beauty and focus instead on the erotic content. The first track features thumri-dadra exponent Nirmala Devi. She sings a chaiti that follows the typical melodic and rhythmic framework that forms the commonly heard template. Set to
First appeared in www.scroll.in on March 21, 2015. Beginning on March 21 this year, Chaitra, the first month in the Hindu calendar, is celebrated with Chaiti songs in northern India. These seasonal songs with obvious erotic overtones often describe the appearance of fresh flowers and fruits during this month, reminding and urging the nayika or the female protagonist in the song-text to meet her beloved. Originally from folk repertoire, there are many types of chaitis in various dialects of Hindi.
First appeared in www.scroll.in on March 14, 2015. It is not uncommon to hear women instrumentalists today, but there was a time when Hindustani music was played primarily by male instrumentalists. The reasons for this phenomenon could be many and would be worth studying separately. But it would be rewarding to remember some key women instrumentalists who made a place for themselves in the world of Hindustani music. To begin with, here is a track featuring the respected teacher
First appeared in www.scroll.in on March 7, 2015. The past week saw a massive change in weather patterns across the country, with unseasonal rains bringing a cool breeze to most regions ‒ but wreaking havoc on crops. This is not quite what the compositions in raags Basant and Bahar and their variants describe about the spring season. Fortunately, the weather seems to be returning to its earlier pattern in some places, almost signalling that we can enjoy a few more
First appeared in www.scroll.in on February 28, 2015. Raags Basant and Bahar have inspired musicians to blend them with other established raags to give them a different hue. The presentation of these compound, or jod, raags can be of a cerebral nature and one cannot deny that it requires a high degree of command over the craft. But such raags become accessible and attractive when performers accept the challenge to transcend the grammar and create an aesthetic image of
First appeared in www.scroll.in on February 21, 2015. Often, the contemporary interpretation of certain raags differ from older ones, as manifested in the compositions and their elaboration. Purists may question the authenticity of newer versions, but such mutations are inevitable in an oral tradition. Moreover, sensitive musicians have always welcomed influences from various quarters, which have over time been seamlessly absorbed into their performance and repertoire, and then accepted as traditional. Raag Shuddha Basant is considered by some as
First appeared in www.scroll.in on February 14, 2015. Basant Bahar, a compound melodic structure that incorporates phrases from the raags Basant and Bahar, is a vital presence in the spring soundscape of northern India. As is the case with many compound raags, Basant Bahar has compositions that bring in different colours of the constituent raags by displaying segments of each in separate lines of the song-text or by bringing in a quick succession of phrases of both raags in
First appeared in www.scroll.in on February 7, 2015. Spring or Basant in India, the season of regeneration and rejuvenation, is a major celebration among Hindus. Basant Panchami or the fifth day of the onset of spring, is observed with propitiatory rituals by Hindus and Sikhs. The syncretic nature of the celebrations is also evident in the Sufi tradition. Along with raag Basant, one can also hear strains of raag Bahaar at Sufi dargahs. The famous composition Sakal ban phool rahi
First appeared in www.scroll.in on January 31, 2015. Practitioners of Hindustani music have responded to nature by creating raags corresponding to the diurnal-nocturnal cycle and to the seasons. Of these, Basant or spring has inspired them to create raags and compositions that reflect the mood and imagery associated with this season. Basant and Bahar are the two major raags related to spring. Over the next few weeks, this column will feature these raags and their variants presented by vocalists