Pt. Asit Kumar Banerjee is an eminent Rudra veena player and representative of Dagarbani Dhrupad in Kolkata
Tags
Jibak Chatterjee, Radio, Conference, Piyal Bhattacharya, Dagar Gharana, Karnatak Veena, Bhimadev Chatterjee, Ansuman Singha Roy [Kaustav], Veena, Vocal, National Programme, Gopal Chandra Paul, Arati Banerjee, Prabir Setari, Ganenbabu, Rabindra Bharati University, Koustav Singha Roy, Germany, Veena, 1980, Zia Mohiuddin Khan Dagar, Asad Ali Khan, Asit Kumar Banerjee, The Way of Music – The Book with Cassette
Pt. Asit Kumar Banerjee is an eminent Rudra veena player and representative of Dagarbani Dhrupad in Kolkata
Tags
Bani, Dagarbani, Khandarbani, Nauharbani, Gauharbani, Da-Ga-Ra, Stroke, Dagur village, Swami Haridas, Parampara, 52 Nayak, Nayak Gopal, Nayak Tansen, Nayak Bakshu, Haddu-Hassu Khan, Bande Ali Khan, Bairam Khan, Imamuddin Dagar, Nasiruddin Dagar, Nasir Aminuddin Khan Dagar, Ziauddin Khan Dagar, Nasir Moinuddin Khan Dagar, Zia Fariuddin Khan Dagar, Rahim Faimuddin Khan Dagar, Bahuddin Khan Dagar, Rahimuddin Khan Dagar, Zair Faiyazuddin Khan Dagar, Wasimuddin Khan Dagar, Vocalist, Veena, Mizrab, Finger, Temple Music, Darbari, Bande Ali Khan, Veena, Pakhawaj, Alapchari, Raga Sruti, Jod, 14 types, Layakari Jod, Nom tom, 16 Angas, Bandish, Dagar Gharana, Application of Upaj, Pada, Sentiment of Lyrics, Sacred Music, Sprituality
Language
Bengali
Pt. Asit Kumar Banerjee speaks:
This anecdote has been included in the Kolkata Music Mapping because the musician Pt. Asit Banerjee has been living in Kolkata for many decades. This also opens up, how a musician who was trained somewhere else and settled in Kolkata got shaped musically. This anecdote has been tagged to South Kolkata that do not directly relate to the anecdote but the residence of the speaker-musician. The period tag is based on the learning period of the speaker. – Editor
There are four kinds of Bani – Dagarbani, Khandarbani, Nauharbani, Gauharbani. The characteristics of each depend on the place of origin. For instance, in the Bengali language, there are different dialects. The people of Bankura speak in a particular dialect; some people say “chhilum”. But the language is Bengali. Dagar is the stroke on the bamboo. The sound produced is ‘Da-ga-r’. And this was a method popular in the Dagar village. And it was handed down through the disciples of Swami Haridas Dagar. He created a band of 52 Nayaks. Among them were ustads like Nayak Baiju, Nayak Tansen. This was the generation of Nayak Baba Gopaldas.
Ustad Behram Khan
The first musician with a title was Imam Baksh. And thus it began. There was Haddu Khan and Hassu Khan. After that, Bande Ali Khan, Bairam Khan. The prosperity of the Dagar gharana began from here. This is the history we can trace. Imamuddin, Nasiruddin, Nasir Aminuddin, Ziauddin, Raimuddin were four brothers. Then there was Nasir Amiruddin, Nasir Faiuddin. Ziauddin’s son was Bahauddin. He had one son. There was no one else. Rahimuddin had Faimuddin Khan Dagar. There is no one left in that line either. Imamuddin Khan Sahib’s sons are there in Jaipur. Isn’t Sapna Dagar in Jaipur? They are in Jaipur. And Faizudddin’s son Wasimuddin Khan dagar is in Delhi. None of them play the veena. And as for the style, unlike others who use the mizrab, we have to play with our nails. Four fingers come into play. Four fingers of both hands have to move. The string is very thick. (PLAYS). If I use a mizrab, it will sound different.
The early exponents of the Dagar gharana were all temple musicians who later moved to the darbar or court of the King. Bande Liah sahib was a veena player, but I can’t think of anyone else who played this instrument. After ustad, I can’t think of anyone else. I played the veena. I came before her, but she is in great form now. She has some great things. “ Eta gaiki ange, om hari ananta narayana namah” – the Dhrupad begins with this. (SINGS). This is how it was sung and then the composition would begin on Vishnu or Brahma. It was a part of haveli music. Then we saw that the pakhwaj was being played with it. The music followed the singing. The veena wouldn’t play if the mirzab was used like it is in case of the sitar. A fast pace also ruin the characteristics of veena.
Dagar lineage
In the alaap in the Dagar gharana, we describe the shruti of each of the raagas. This will differ. As for jod – there are 14 different kinds. There is Laykari Jod. But the thing is, how much time will we get on stage? So we perform two or three. (SINGS). Then, you could increase the pace and go to Nom tom. (SINGS). Now the mirzab will start. There are 16 angas which are placed here, then we move on to the Nom tum, and then we start the Bandish. (SINGS). In the Dagar gharana, there is no ekgun, dvigun, teengun, chargun (Tempo). I can keep that in laykari. We have Upaj. (SINGS). What is important is the Pada, the sentiment of the Pada, and the reaction to the Pada. I am calling upon the deity. I am not performing in my own name. I am calling upon Shankara. I have to look up to the heavens. This is the main thing. In our Dagar gharana whttp://dhrupad.com/about-dhrupad/dagar-tradition/e have to live life in purity,
This anecdote has been included in the Kolkata Music Mapping because the musician Pt. Asit Banerjee has been living in Kolkata for many decades. This also opens up, how a musician who was trained somewhere else got shaped musically. As the musician is residing in southern part part of Kolkata, the anecdote has been tagged for ‘South Kolkata’- Editor
On later inquiry Smt. Rajyasri Ghosh told that the incident happened around 1990. – Editor
Translation:
This incident that I will narrate was from the Sangeet Research Academy at Tollygaunge, where I was a scholar. We used to have a class on Raga Analysis there, and on that particular day, were discussing about the Raga Behag. Pandit Vijay Kichlu was conducting the session that day, and there was also present among us, personalities like Buddhadeb Dasgupta, Nibruttibua Sarnaik, A.T. Kanan, Malabika Kanan and Gijira Devi. So the session started with Faiyaz Khan Saheb’s Alap of Behag, after which the discussion took a turn to the different phrases of the Raga Behag. Each Raga comprises of a minimum of 3 to 4 phrases. After Faiyaz Khan’s Behag, Nissar Hossein Khan’s Behag was also touched upon. Some would do the notes as Ni Sa Ma Ga, some Ni Sa Pa Ma Ga… and we were all immersed in the talks. After some time, Amir Khan’s Behag was also talked about, which is a very different type, and we were discussing how we should analyse a Raga, and which phrases should we consider, since Amir Khan’s Raga was a distinct one.
Pt. Jasraj
At last, we talked about Pandit Jasraj’s Behag, our leader said “wow this is listenable”. So, Nibruttibua Sarnaik said, “you invite him to perform here, we pay thirty thousand rupees to listen to him and people comes to listen to him only, why are you criticising him?” Saying this he went out of the room, leaving everyone.
This is an incident from the year 1975 which took place at Kalamandir. At the program, there was present Jnan Prakash Ghosh, A.T. Kanan, Prasun Bandyopadhyay, Budhadeb Dasgupta and Malabika Kanan. At that time, I was in eighth standard in school, and this was an incident from the year 1984 and I had just begun my journey in the musical world through experiencing whole night conferences. The first performance that I remember was a duet by Jnan Prakash Ghosh and V Balsara. It was a different kind of experience altogether- the duet of harmonium and piano. Though I wasn’t able to appreciate much, but I really liked it. After one more performance, Kanan Saheb went on stage. He sang the Bageshree Raga- “Sakhi Man Laagi” with the Sa into the Sam. Ten minutes after he began, there was a power cut, which lasted for 45 minutes. I remember, the crowd was totally silent, and Kanan Saheb went on with his performance uninterrupted. Can there be anything more technical than this?
Kalamandir, A renowned auditorium of Kolkata
I had a balcony seat, which used to cost ten rupees back in those days, and I listened to him. I don’t remember the names of his companion, who was excellent as well. I felt Kanan Saheb’s voice was like an arrow, from my balcony seat. If it would have taken place today, even I would have stopped singing in the power cut. This incident has been imprinted in my mind since then.
SAP- Lab, Dept. of Instrumental Music, Rabindra Bharati University
About the speaker
Pt. Sanjay Bandyapadhya is an eminent Sitar Player and Ustad Alauddin Khan Chair Professor in Instrumental Dept. Rabindra Bharati University.
Tags
Shaymal Bose, Barada (Elder brother), Indira Cinema Hall, 1968 – 69, Sadaranga Music Conference, Ustad Amir Khan, Tanpura, Tabla, Darbari, Long Pause, Theka, Ektaal, Jhoomra, Sitar, Sarod, Nikhin Banerjee, Chandrakosh, Gat, Ati Vilambit, All India Radio, Teen tala
