The tradition of Guru Shishya Parampara is still alive in the world of Indian classical music and dance, but in a much diluted form. Both music and dance encapsulate the entire culture of Bhaarat, once the epitome of enlightenment. To pass this holistic knowledge down to the next generation demands exceptional expertise because, in this era of specialisation, the word ‘holistic’ is passé; so is its teaching methodology. As such, at present, the mentor needs to adopt an atomistic method to illuminate every aspect of a rewarding performance.
In this regard, as a Guru (Padmabhushan), Pandit Arvind Parikh stands tall. Blessed with a very sharp analytical mind, matchless business acumen, boundless patience, and exemplary adaptability in fast-changing times, this wealthy businessman’s only passion is to nurture and disseminate the covert contents of his Ustad, Vilayat Khan’s technically rich sitar baaj. The latter is comparatively easier to copy for young ones, thanks to the ustads with ‘follow me’ as teaching methodology and the electronic gadgets; but Arvindbhai, a traditionalist, does not regard it as music.
Effortlessly pacing with time, he charted out an innovative online taleem session. To get the best results out of this, the disciples, from all over the globe, are liable to record their music and send it over to their Guruji much before their scheduled sessions. Arvindbhai listens to the recorded music before the online session, wherein he minutely analyses and explains how to balance the technique and contents springing out from a carefully established tonic of the chosen raga, its proper unfoldment through keynotes and phrases, and the selection of suitable tempos of alap, gatkari, taans, etc. His atomistic analysis brings forth the basic tenets to ensure an effective recital. Moreover, his guidelines regarding a performer’s stage demeanour are an excellent example of his keen observation. For posterity, he has recorded 180 self-composed gats along with 220 traditional ones, video-recorded 52 ragas’ aalap with explanations along with 180 paltas suitable for various ragas’ mood and gait, penned to encapsulate different Prakaars of ragas like Todi, Bhairav, Malhar, etc. in easy-to-remember rhyming verses, and written three books, including ‘Trainer’s Manual’ and general information about the purchase of sitars.
A philanthropist to the core, donating a major chunk of his worldly riches to serve the cause of music, musicians, and keen learners, he established such organisations as the International Foundation for Fine Arts, Music Forum, and Indian Musicological Society to acknowledge talents in all aspects of music, help the needy musicians, and improve the music climate in Mumbai. At present, his project of publishing booklets on the stylistic individuality of six legendary Hindustani classical musicians is on the go. This will provide precise tips to even a layman who may start taking interest in their style of musicmaking.
He also continues to host ‘Baithak’ with eminent musicians to widen the melodic horizon of the uninitiated audience. So far, more than fifty monthly sessions of the Baithak have highlighted various facets of individual gharanas of vocal and instrumental music. But the annual Guru Purnima celebrations reverberate with Vilayatkhani Baaj only. The nonagenarian, with a heart of gold that is brimming with reverence for his Ustad, has made this event an auspicious occasion of homecoming for Vilayatkhani Parivar, his extended family of disciples and admirers.
A day before the two-day event this year, he organised a warm get-together at his residence to give away his cherished trophies among disciples led by Suvarnalata Rao, senior director, Hindustani Music Department, NCPA; Shobhit Nahar, director, Sangeet Natak Akademi, Lucknow (Uttar Pradesh); Gopal Krishna, assistant professor, Delhi University; Rafat Khan, one of his senior disciples; Varad Bhosale, his brilliant, tech-savvy younger boy; and many more. His philosophy is ‘Shed weight before travelling far away. I have distributed all my formal wear, fifteen sitars, and surbahar except one sitar. I lived a very comfortable life that gave me job satisfaction, loving family, and the enlightening company of great musicians apart from my legendary Ustad. I am blessed to pursue my passion for music and share my musical vision off and online with keen listeners.’
The Guru Purnima celebrations, dedicated to Ustad Vilayat Khan, featured Arvindbhai’s disciples and grand disciples. It was organised at Bharatiya Vidya Bhavan, Mumbai (20-21 July, 2024). The performances by sitarists Varad Bhosale (Jhinjhoti), Gopal Krishna (Malkauns), Vandana Shahani (Bageshri), USA-based Abhik Mukherjee (Tilak Kamod), Bhupal Panshikar (Jhinjhoti), surbahar exponent Ashwin Dalvi (Miyan Malhar), and vocalist Supriyo Dutta (Marwa) revealed their commendable equal command on technique and content, ensuring their national/international acclaim. They are closely followed by Amruta Kukarni (Desh), Sunder Nath (Bhimpalasi), Jyothi Shyam (Yaman), Amrita More (Puria), UK-based guitarist turned sitar exponent James Pusey (Bhimpalasi), and Madhura Karambelkar (Jaunpuri). They all, including Australian Alan Posselt (Miyan Malhar), adhered to the scientific tenets, analytically explained by their Guruji, yet maintained their individuality with élan. Arvindbhai’s senior disciples Rafat Khan (Madhuwanti), Maruti Patil (Bilaskhani Todi), Paresh Parekh (Jaunpuri), zitarist Altaf Khan (Pilu), and Nitin Parmar (Bihag) are established teachers. Sushma Zhaveri (Ahir Bhairav) and Varsha Sohale (Shuddh Sarang) enjoy music as therapy.
Talented slide guitarist Prathamesh Pareek zestfully debuted on stage (bihag). If the young banking lawyer pursues his passion patiently, he is sure to go places. So will South African banker-sitarist Premal Bhana (khamaj), Shehnai-nawaz Kiran Shinde (Bairagi Bhairav and bhajan), and Punjabi folk-artist turned classical singer Harpreet Singh (Yaman). The latter’s Guruma Purvi Parikh (Shankara) straddles her wanderlust with entrepreneurship and sombre Kirana vocalism. She excelled in Khayal’s badhat and lilting kajri.
Both days commenced with short video-recorded presentations by the grandparents of Arvind bhai. A few arrived prematurely, but their enthusiasm is sure to help, while some, like Megh Bapat (Bageshri), Radha Vadulekar (Yaman), Krishna brothers Gautham and Gagan (differently designed Yaman bandishes in teental and ektal), Galen Passen (Kedar), and little great-grand disciple Mihika Ganguly (who managed both her sitar and electronic tabla and yet played Yaman neatly), promise a very bright future and continuity of this great tradition.
Preserving Tradition
SMIPAC Trust, under the stewardship of Delhi-based celebrated tabla maestro Shailendra Mishra, is dedicated to preserving and promoting Indian classical music and aims to create awareness, foster talent, and ensure the continuity of this sublime art form. In collaboration with Bharatiya Bhasha Parishad, it organised its Kolkata chapter of Harshotsav 2024 (8th June) at Parishad auditorium, featuring young musicians, but not before seeking blessings of Kolkata’s grand old masters such as Pandits Amiya Ranjan Banerjee, Shankha Chatterjee, and Manilal Nag, along with Dinanath Mishra, and offering them ‘Lifetime Achievement Awards’.
Erudite sitarist Mita Nag, who accepted the award on behalf of her father-guru Pandit Manilal Nag (absent due to indifferent health), was charged with the music of her illustrious ancestors belonging to Bishnupur Gharana. Her reposeful alap in raga Vachaspati displayed very emotive komal nishad, some beautiful note combinations, richly melodic elaboration, and brilliant technique. Later, the dhrupad anga gatkari, excellently supported by tabla virtuoso Prangopal Bandyopadhyay, was an aesthetically designed skill show that merged into jhala, wherein peace prevailed in alap phrases.
Next, Sandip Bhattacharya sang Raga Kedar. This young maestro’s assets are his open-chested mellifluous voice covering three octaves, long breath, commendable rhythm-sense, and soul-stirring gayaki. All these, supported by Pandit Shailendra Mishra’s seasoned and sensitive tabla, along with Pradip Palit’s shadowing harmonium, cast their spell. The concluding dadra, set to fast dipchandi, was full of verve. Finally, feted slide guitarist Kamala Shankar played an elaborate alap in raga Bageshri. With Arup Chatterjee’s sophisticated tabla as a reliable aide, her slow and fast teental gatkaris, studded with gamak taans, peaked in jhala that chose a melodic end instead of the rampant, frenzied climax. Earlier, the ‘Sangeet Sandhya’ opened with Madhuwanti-based Saraswati-stuti sung by Banika Sarkar.
The writer is a senior music critic