Purpose: Book Review
Book Name: Music room
Writer’s Name: Namita Devidayal.
Spelt by: Yogesh Gogwekar
Address: Mahim, Mumbai.
The Music Room: The most Fascinated Memoir on Hindustani Classical Music
Namita Devidayal, a journalist with Times of India, at the age of ten with her mother had gone to cramped one-room apartment at Congress House, near Kennedy Bridge, Grant road, Mumbai to learn the Hindustani Classical music from the finest Hindustani Classical singer Dhondutai Kulkarni who was the disciple of Alladiya Khan and Kesarbai Kerkar. It is being said that she was the last representative of the Jaipur-Atrauli school of music in its purest form. In the beginning, Namita Devidayal was not keen to learn classical music but slowly she started developing an interest in this music which became her passion. A book, “The Music Room '' is the memoir of Namita Devidayal’s musical journey and learning the music under Dhondutai Kulkarni. Even though one can call it as a biography of Dhondutai Kulkarni, it also gives the full information about two luminaries of Jaipur-Atrauli Gharana and their names are Alladiya Khan and Kesarbai Kerkar. This is not only storytelling but a tribute from the student to his teacher and great musicians who had created the music with a lot of pain and developed the music through the wonderful training program for next generations to come. It is also the history of Hindustani Classical Music Empire and inheritance. The major aspect of this book is that it also tells us the stories which are embedded in the tradition of Indian Classical music. When I started reading this book, I enjoyed its beautiful and enlightening story. If you are a music lover and have basic knowledge, do not miss to read this book.
“Dhondutai Kulkarni walks into the music room, picks up the Tanpura and sits down to tune it, her fingers run over its taunt strings and adjusts the ivory beads at end, where the instrument’s slender stem ballooned into gleaming ground. When the pitch is perfect, she begins to strum the four strings in a regular motion. The notes swirl into the air around her and melt into a timeless drone. These are the wordings in the beginning of the book comes after the quote of famous sitar player Vilayat Khan,” The Raaga should be performed such that, within a few minutes, both the performer and audience should be able to see it standing in front of them”. Once the narrative of Raag Bhairavi was over, the author of the book started narrating her memoir of Music room at Kennedy Bridge. Namita Devidayal was ten year old when her mother had dragged her to Dhondutai Kulkarni to learn Hindustani classical Music against her will. As in those days, it was customary for all girls to learn music to enrich material skills. One more reason for rejecting to go to this place was the locality where Dhondutai was staying surrounded by brothels and walls outside the home are all clattered by betel split marks. At the time of explaining this, Namita Devidayal said that this was the night vividly and during the day time the area under Kennedy Bridge was like any other crowded street of Mumbai. Writer house was nearly ten to fifteen minutes from the Congress house and her Convent Queen Mary school was across the street of Kennedy Bridge. When the writer joined The Music Room, her first companion was the mother of Dhondutai Kulkarni who was wearing a nine yard sari and pulled tightly around her shoulders and spoke only in Marathi in which little Namita was not comfortable.
From here, the journey of Musical life started for Namita Devidayal. In the beginning, she was reluctant to learn but slowly developed the interest into singing and it became a passion for her. On her first day, Dhondutai made her sing the base note, ‘Sa’ which is the tonal pillar of Indian Music and remains unchanged and constant, reliable and stoically oblivious to the whims and fancies of other notes. It is the foundation, the first and last note, the point at which the circle begins and ends. She also taught her how to merge her ‘Sa’ into the ‘Sa’ of the Tanpura until both are one. Dhondutai also taught her two important parts of music i.e. to control the breath and another is how to throw the voice. Dhondutai not only taught her art of singing but also the history of music, how to use music as an art by learning its tradition and cultural heritage and also how to be a good person. Musical Journey of Namita Devidayal started with Raag Bhoop which has a specific combination of five notes. She taught her this Raag in such a way by showing the beauty of this Raag which lies in being able to create numerous permutations and combinations with just five notes. She also said that absent notes are as important as the notes which are being sung. Later on Namita also learnt many Ragas from her. While teaching these Ragas, Dhondutai said that as per Natyashastra, there is a deep link between a Raga and Human relation. She further said that these links are not to be taken so literally, but Ragas are definitely connected with human emotion, events and even seasons. That means they are linked with the social and cultural universe of human beings. At the time of explaining this Dhondutai said,” To Understand and perform the Raag in true sense requires life time meditation on the notes and on yourself. Just by mastering the notes is not enough. You have to reflect on the human condition on life itself. Every time I sing a Raag, it unfolds and expands, revealing new insights and pathways. That is why they say that a musician really becomes a musician at the end of his life. It is only once you can use the notes to tell a greater story that you are floating in that bottomless ocean”.
Dhondutai Kulkarni was born on 23rd July 1927 in a Brahmin Family in Kolhapur. Her Father Ganpatrao Kulkarni was a school teacher. After seeing her interest in classical music, her father encouraged her to learn this music. It was really an inspiration work because it was very difficult to break social and religious barriers for any Brahmin girl to learn the music from Muslim Gurus. Ganpatrao Kulkarni introduced her to Alladiya Khan who was presenting his music in the Courtyard of the Princess State of Kolhapur. After that she started receiving her training from Natthan Khan of Jaipur- Atrauli Gharana a nephew of Alladiya Khan for three years. Later on, she started getting the training from Bhurji Khan who was the son of Alladiya Khan for Ten years until his death in 1950. She also learnt the Ragas from Azizuddin Khan who was the grandson of Alladiya Khan. By that time, she started giving public concerts and also started performing on All India Radio. During the time she learnt the music from Lakshimibai Jadhav who was a disciple of Haider Khan a brother of Alladiya Khan. Even though Dhondutai learnt the music with rare ragas from great musicians, she received the great knowledge of classical music from Melodious musician Kesarbai Kerkar. After coming to know about Kesarbai Kerkar, Ganpatrao Kulkarni wrote to Kesarbai to accept his daughter as a disciple and provide her training in music. Since there was no revert from Kesarbai, the family shifted to Jabalpur where her father heard that Kesarbai had accepted Dhondutai as her disciple and called her to Mumbai. Thus, Dhondutai along with her parents permanently settled down in Mumbai in 1962 after selling the property of Kolhapur. Through the training under Kesarbai Kerkar from 1962 to 1971, Dhondutai learnt the Ragas and Gayaki of Jaipur-Atrauli by emulating the musicianship of Kesarbai. Dhondutai was very much impressed about Kesarbai’s full throated vocalism, unbreakable flow of Gayaki, characteristic taans of Jaipur- Atrauli Gharana and her ability to win the hearts of the audience. Kesarbai Kerkar was not keen on singing light classical music like Thumari, Daadara, Tappa and any other semi-classical piece. In 1977 from the death bed, Kesarbai told Dhondutai to expand her music without bringing it to the street level.
Dhondutai Kulkarni dedicated her life to preserving the music which was taught to her by Gurus. An author, Namita Devidayal narrated her observation regarding the total dedication of Dhondutai’s life for music. Namita realised that for Dhondutai music is much more than ragas and taans. Through music, she understands the meaning of life. For her, Musical art is one of those things which enlighten the soul. It is like the flame of hopes which provides lights to the dark corner of our inside rooms. Musical Art is adoration and it is holy divine which requires unsullied devotion. Dhondutai had all these qualities and she dedicated her life totally to music. Namita Devidayal understands the dedication Dhondutai had when she came to know that she remained unmarried throughout her life for the sake of music. It is in her heartbeat. As a Guru, Dhondutai expressed unconditional love to her disciple through the language of music. She also observed that her love and respect for her teacher were very much high and explained that the way she had taken the pains to teach music to her disciples. In this case, Namita Devidayal says that Dhondutai unfolds the new world by teaching her beautiful metaphors and divine Ragas and these things give the feeling of pleasure. Dhondutai saw the potentiality of the writer and tried to make her next Kesarbai. Thus, the author's relationship with her Guru has been nicely and genuinely narrated. In this case, Dhondutai explained the relationship of student and Guru by giving verses of medieval poet Kabir who has always given importance to teacher. Kabir said,'' Guru, Govind Dono Khade, Ka Ko Laagu Paye, Balihari Guru Apane Govind Ko Diyo Dikhaye”. This means, my teacher and my God both are standing in front of me, who should I bow first? Here Kabir suggested that it should be the teacher, for it was he or she who showed the way to God. The teacher in traditional India was considered as an incarnation of God. With this, the writer mentioned that she started understanding the importance of the teacher or Guru in life and said that teachers viewed students as incorrigible brats who knew they could get by in life at the time. This is the only way when a student is being taught; others should sit by and listen, pick up on the mistakes and corrections, and memorize the composition.
Even though this book has been dedicated to Dhondutai Kulkarni, it provides detailed information about the life of Alladiya Khan, Bhurji Khan and Kesarbai Kerkar who were the teachers of Dhondutai Kulkarni. This has been done in an interesting way and you will not be bored to read it. Namita Devidayal does this through the conversation with Dhondutai and takes the readers back to the history of Jaipur- Atrauli Gharana of Hindustani Music. This gives the details of Jaipur- Atrauli Gharana and its difference with other Gharana. Alladiya Khan was the founder of Jaipur- Atrauli Gharana. It is being called as Gayaki of Alladiya Khan which evolved from Dhrupad, but is very much known for Khyal. It is being said that Alladiya Khan was originally from the village Atrauli in Aligarh, Uttar Pradesh, migrated to Jaipur and settled down as a courtyard musician in the Princess state of Kolhapur in Maharashtra. Therefore, this Gharana emerged from Alladiya Khan’s family. He was born on 10th August 1855 in Shia Muslim Community and his original name was Gulam Ahmed. Before his birth, his parents had lost seven children. Due to this, his parents had gone to holy man to make sure that this child would live for a long time. Thus, he came to be known as Alladiya Khan. According to Dhondutai, Alladiya Khan always used to claim that they were Hindu origin and an ancestor of Swami Haridas. They were Gaud Brahmins and their gotra was Shandilya. He learnt his music from his uncle Jehangir Khan. For three years, Alladiya Khan learnt Dhrupad from his uncle and for next eight years Khyal. Like medieval Poet Kabir, he used to call himself neither Hindu nor Muslim. He used to eat meat but also used to wear the sacred thread of high caste Hindus. Even though, he was the follower of Islam, he used to compose thoughtful profound verses of Hindu Philosophy. He did his namaz every day, but used to sing his music with complete devotion in temples. He taught his music to Non-Muslim singers like Bhaskarbuwa Bhatkhande, Kesarbai Kerkar and Mogubai Kurdikar (Mother of Kishoritai Amonkar). Therefore, it is said that his religion was only Music.
This book has mentioned Bhurji Khan who was the youngest son of Alladiya Khan. His original name was Shamsuudin Khan and due to his curly hair, he had been called Bhurji. He was the best and most capable among his brothers. His voice was excellent. He used to listen when his brothers used to get training from their father and used to sing all the compositions. When he was young, he felt seriously ill due to influenza. Since he did not get proper treatment, he not only lost his voice but also suffered brain-damage which resulted in forgetfulness and memory loss. His total dedication and love for music, brought him back to music and he expanded the music of Jaipur- Atrauli Gharana. Other than Dhondutai Kulkarni, Madhusudan Kanetkar, Gajananbua Joshi, Madhukar Sadolikar, Wamanrao Sadolikar, his own son, Baba Azizuddin Khan and above all Pandit Mallikarjun Mansur were his disciples. Here Dhondutai said that Bhurji Khan was employed in Mahalaxmi temple to sing every morning. Dhondutai’s father always used to go there along with his daughter to listen to his music. One day, her father asked him to teach the music to Dhondutai. After initial stages of reluctance, he agreed to teach her and she learnt from him for ten years till his death. While teaching her, Bhurji Khan told her not to use harmonium at the time of singing. According to him, Human nature is such that it always seeks easy options and harmonium is not allowing you to work on making independent connections with the notes. He informed her that she would not be able to learn how to hit the right note with exactitude because she would have the back up. He also taught her to play Tanpura. In the beginning, she struggled but very soon she learned how to hold the tips of her fingers in the line with the strings so that she did not pull at them but glided over them, in a motion that alternated between gently depressing and releasing, until it became second nature. It shows the deeply influence of Bhurji Khan on Dhondutai’s training.
Kesarbai Kerkar was the biggest name of Khyal Gayaki of Jaipur- Atrauli Gharana and was a disciple of founder of Jaipur- Atrauli Gharana, Alladiya Khan. As mentioned above, Dhondutai Kulkarni learnt the Khyal Gayaki of Jaipur- Atrauli Gharana from her for ten years. Namita Devidayal has given a glimpse into the lives of Kesarbai Kerkar in the book Music Room. At the time of conversation, Dhondutai said that Kesarbai Kerkar informed her father that she accepted only talented students. Still her father decided to go to Mumbai from Jabalpur along with his daughter to meet Kesarbai as her father wanted her to learn from the finest field even after knowing the eccentric approach of Kesarbai. When she saw her in person for the first time, she asked Dhondutai whether Dhondutai would be able to accompany her and asked her to sing in front of her. After getting permission from her father, Dhondutai started strumming the Tanpura and sang Raag Purvi in such a systematic way as it had been taught to her by Bhurji Khan. After listening to her, Kesarbai accepted Dhondutai as a disciple. She was born on 13th July 1892 in the village Keri in Ponda Taluka of North Goa, but her family left Goa for Kolhapur when she was eight years old. She started her musical training from Abdul Karim Khan in the beginning, later from Ramkrishnabuwa Waze and lastly from Alladiya Khan. After listening to her music, a great poet Rabindranath Tagore honored her by giving the title Surashree in 1938 and this title has become etched in the memory of the people. She was also honored by the Sangeet Natak Academic Award in 1953 and Padma Bhushan in 1969. As per Dhondutai, the foremost striking feature of her singing was an almost masculine breath of her voice. Kesarbai represented Gayaki of Jaipur- Atrauli Gharana in a significant way by using aprachalita (Obsolete) Ragas and also complex Ragas. When Dhondutai warmed up the conversation with the writer and said that the great music was complete only when the notes of the performer touched the soul of the listener and sigh of appreciation went back to the musician and Kesarbai had the ability to do that. Due to her kind of music, everyone in the music world instinctively accepted the position that musically she could do no wrong. Such a great musician died on 16th September 1977 in Mumbai.
This is really a fascinating book to understand the musical journey of Namita Devidayal which started from Kennedy Bridge, shifted to Shivaji Park and settled down at Borivali. It is being observed that many performing musical artists are not able to express their expressions in writing. Namita Devidayal knows the music and is also aware how to express beautifully in the words of the English language. I got this book at one of the book fairs held in Mumbai. After reading, I felt that after a long time I have read a good book on Indian Classical Music. Therefore, every music lover, I request you to read this book and enjoy it.
I am stopping my writing on this book by mentioning the advice given by Ganpatrao Kulkarni to his daughter Dhondutai Kulkarni. He said, “In any kind of circumstances, please do not compromise your integrity, just remember, that this is a divine art form, not some cheap performing racket. And even if you do not become famous or rich, you are singing for goddess. That is all that counts. Treat your music with respect. Worship it. And always keep to yourself”.
Thank you
19/11/2021
Yogesh
Gogwekar
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