Category Archives: Teaching-Learning

North, Teaching-Learning, Before 1900

Some Glimpses of the late 19th century Pakhawaj Players : In and Around Calcutta

Told by Gurudas Ghosh
Obtained by Aloke Narayan Mitra
Date 29 January, 2015
Place Santragachhi, Howrah
On Gurudas Ghosh Well-known Pakhawaj Player.
Key-words Hari Shankar Ghosh, Mridanga, Durlabh Chandra Bhattacharya, Collapsible Howrah Bridge, zamindar, rich people, baithak, yatra style, jatra style, male singer in female voice, 1885-86, 1890’s, Pyari Mohan Das,
Language Bengali

Gurudas Ghosh speaks:

Verbatim:

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Durlabha chandra Bhattacharya

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 Verbatim by: Dr. Suranjita Paul

Translation:

Our Howrah district is on either side of the Ganges. My grandfather Harishankar Ghosh was an important mridanga player. He trained under the well-known mridangacharya Durlabh Chandra Bhattacharya for almost twenty years. At that time, the only thing connecting Howrah and Kolkata was the old Rabindra Setu, on that side of the Howrah Station. But the people from Howrah to Kolkata could only cross at a particular time and same was the case for those who were travelling in the opposite direction because, unline the concrete bridge that exists today, this bridge, I’ve heard my grandfather say, was a floating bridge. Such a bridge still exists at the Kidderpore docks. This bridge is opened to let ships pass, and then closed again. This bridge would open after 11pm and let the ships pass. Then it would close again early in the morning at around 4 or 5. So, the music-lovers who went to Kolkata from Howrah would have to return by a particular hour, or else they’d get stuck.

Baithaki music at Zamindar house

It is my belief that the music scene in Kolkata was not like this before. Earlier, a programme would be organised every week at the house of some rich zamindar. Many talented persons would come to hear. In such programmes, the performer sat in the middle, and the audience sat around the performer – an arrangement similar to the jatra. My grandfather (I called him dadu although this term is usually reserved for the maternal grandfather, but I am used to calling my paternal grandfather Harishankar Ghosh by this term) had been attracted to this music from a very young age. He was associated with an ameteur jatra troupe since he was a boy. In those days, at the beginning of every play, there would be a song by bibek (the conscience). A Pakhwaj, then some on the tabla, and kirtan if need be. My grandfather played female characters in the plays when he was fourteen or fifteen years old. In those days, the men would play the part of the female characters because women couldn’t participate in such performances themselves.

How long ago was this?

The year?

Yes, which year?

Well, my grandfather was around twelve or fourteen. 1885-86 maybe. 1315-16 BS. Anyway, grandfather developed an interest in music through his participation in these plays. He didn’t learn the tabla, but he was fascinated by the instrument. If he ever got the opportunity, he could play along with some other member of the troupe, but he was not trained. The leader of the troupe advised my grandfather, “You have a good sense of rhythm. You learn the tabla. It’ll do you good.” Grandfather liked what he said.

One of the main disciples of Durlabh Bhattacharya was Pyareemohan Das. He was a timber merchant in Posta. Even now if you go in that direction, you’ll see timer merchants all in a row. Anyway, my grandfather got in touch with him and began to train. After training for some time, the master said, :Our gharana doesn’t use the tabla for too long, we have the pakhwaj.

Who did he learn from?

From Pyareemohan Das – the main disciple of Durlabh Bhattacharya. After that, he trained under him for ten years to learn the pakhwaj. After that, he passed away. Before that, grandfatherhad trained for ten years. But he felt like he had a lot left to learn. Durlabh Bhattacharya was still there. So he went to Durlabh Bhattacharya and said, “I was a student of Pyareemohan Das. Now, I have no one to train under. What will I do? Durlabh Bhattacharya was very impressed with my grandfather. He said, “You come to me. I will teach you.” Grandgfather trained under him for twenty years – for as long as he was alive. After passing his Entrance Examination, my grandfather also worked at several companies in Kolkata. He went to learn after work. That is why, he developed a close relationship with Kolkata and began to attend different programmes and hear performances.

When grandfather’s first guru Pyareemohan Das was still alive, he would go to many programmes with Pyareemohan Das. The latter would perform, and he would sit and listen. At that time, there would be arrangement of food not only for those who performed, but also for the audience in all the private performances. Grandfather used to be there. But he also had to keep in mind that he’d have to reach Howrah Station before 11, although the train was at 11:30, because the bridge was to open for the ships to pass. It happened many a times that he slept all night on what is now known as Jagannath Ghat (where there is a wholesale flower market). Sometimes, if he was accompanied by a friend, the friend would go with him.

At that time, there was another famous mridanga player, a contemporary of Durlabh Bhattacharya. His name was Nagendranath Mukhopadhyay. He was a famous ‘pakhwaji’. He could be called the ‘guru bhai’ of Durlabh Bhattacharya. However, his style was slightly different. Anyway, his daughter lived in Shibpur. So he often returned with grandfather. And if by chance the bridge would open, then the two of them would spend time chatting. He used to say to grandfather, “You play well, you should learn a bol or two from me.” Grandfather respected Durlabh Bhattacharya, revered him, but was also afraid of him. He was afraid that if he took the bol without Durlabh Bhattacharya’s permission, he would get angry and refuse to teach him. But he loved grandfather very much.

Translated by: Sarbajaya Bhattacharya

Picture courtesy: Google

http://umeandfilms.blogspot.com/2014/07/july-blind-spot-jalsagharthe-music-room.html

http://nishaantsingh.blogspot.com/

Edited & Designed: Dr. Suranjita Paul

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University

 

 

Teaching-Learning, Central

Modernity in Jnan Prakah Ghosh

Told by Sabyasachi Sengupta
Obtained by Sanjoy Bandopadhyay
Date 30 December 2014
Place Sangeet Bhavan, B.T. Road Campus, Rabindra Bharati University, 56A, B.T. Road, Kolkata 700050
On Sabyasachi Sengupta Tabla player, Guest Teacher at the Department of Instrumental Music, Rabindra Bharati University
Key-words Jnan Prakash Ghosh, Sourabh, bol, drama, aesthetics, trital, kayeda, nikas, accent, modernity
Language Bengali

Sabyasachi Sengupta speaks:

 

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.
South, Teaching-Learning, 1975-2000

Against Time Wasting

Told by Angshubha Bandyopadhyay
Obtained by Sanjoy Bandopadhyay
Date 03 December 2014
Place Sangeet Bhavan, B.T. Road Campus, Rabindra Bharati University, 56A, B.T. Road, Kolkata 700050
On Angshubha Bandyopadhyay Tabla player, Guest Teacher at the Department of Instrumental Music, Rabindra Bharati University
Key-words Jnan Prakash Ghosh, 1990’s, namaskar, pranam, Ironside Road, time management

Angshubha Bandyopadhyay speaks:

Paraphrased in English

Against Time Wasting

Told by:   Angshubha Bandyopadhyay

It is a story about the strict discipline of Guru Jnan Prakash Ghosh. Throughout his entire life he strictly followed the values of Time. He firmly believed that time is like precious jewels, once gone, it never comes back. He never wanted to waste time even when it directly connects him. Probably it was  1990s. On Wednesdays all of his disciples used to gather in his Iron Side Road residence for Taalim. It is usual custom to touch Guru’s feet. So, they used to touch their guru’s Guru when they entered the classes. It is a very common practice in Indian tradition of Music. But Guru Jnan Prakash Ghosh was against that this kind of rituals. The reason was, for him a pranaam took precious two minutes which cut short his lesson-time and he could not tolerate this. He tried to forbid them from doing so, but the students did not take much notice of that.

One fine Wednesday morning, it was around 9 am to 9-15 a.m. Guruji came to his practice room with his unique chappals on his feet. All of his disciples stood up in respect and began to touch his feet. He immediately got furious and told them that he would not take their classes as they were not listening to him seriously. The class got postponed for the day. The students could now feel the significance of the situation. Helplessly they requested Mallar, Guruji’s son, to settle down the issue. Things were settle down gradually, and from that day his disciples became very cautious about wasting time for pranaam.

This is a memorable story of a Guru which a student would always love to remember.

 

Paraphrasing by Dr. Suranjita Paul, Research fellow

Data processed at SAP-DRS Lab, Department of Instrumental Music, Rabindra Bharati University.

 

Teaching-Learning, Central, 1975-2000

Teaching Style of Jnan Prakash Ghosh-I

Told by Angshubha Bandyopadhyay
Obtained by Sanjoy Bandopadhyay
Date 03 December 2014
Place Sangeet Bhavan, B.T. Road Campus, Rabindra Bharati University, 56A, B.T. Road, Kolkata 700050
On Angshubha Bandyopadhyay Tabla player, Guest Teacher at the Department of Instrumental Music, Rabindra Bharati University
Key-words Jnan Pakash Ghosh, style, laya, bol, non-fixed, improvisation, tali, khali, reciting, Saurabh, 1996

Angshubha Bandyopadhyay speaks

 

North, Teaching-Learning, Listening, 1961-1974

On Listening Attitude

Told by Samar Saha
Obtained by Abishek Chatterjee
Date 17 November 2014
Place Samar Saha’s residence at the ITC-SRA, 1 N.S.C. Bose Road, Kolkata 700040
On Samar Saha Eminent Tabla Player. Attached to ITC-SRA, Kolkata
Key-words Rela, Krishna Kumar Ganguli [Natubabu], Hirendra Kumar Ganguli [Hirubabu], Raichand Baral, Anath Nath Bose, Shobhabazar, 1970s, riyaz, practice, attitude
Language Bengali

Samar Saha speaks

1900-1920, Kolkata, Teaching-Learning, 1921-1947, Music Allied

Remembering Bimala Prasad Chatterjee

Told by Jon Barlow
Obtained by Sanjoy Bandopadhyay
Date 14 December 2014
Place At Kolkata residence of Jon Barlow 91/1B Bondel Road, Kolkata 700019 [Ballygunge Phari]
About Jon Barlow
A man in pursuit of Indian Classical Music for more than fifty years. Learnt sarod, vocal music, music collector, music craftsman, photographer, artist, music theorist.
Key words 1934, Pramatha Nath Banerjee, Badal Khan, Inayet Khan, Hafiz Ali Khan, Bimala Prasad Chatterjee, Khadim Hussein [Rampur], Mehedi Hussein, Buniyad Khan, therapy, Allahabad Music Conference, K.L. Saigal, Hrishikesh Mukherjee, Bhismadev, Vishmadev  Chatterjee, opium
Language English

Listen to Jon Barlow

South, Teaching-Learning, 1961-1974

Straight from Australia: Starting to Learn with Pt. Radhika Mohan Maitra

Told by Jon Barlow
Obtained by Sanjoy Bandopadhyay
Date 14 December 2014
Place At Kolkata residence of Jon Barlow 91/1B Bondel Road, Kolkata 700019 [Ballygunge Phari]
About Jon Barlow A man in pursuit of Indian Classical Music for more than fifty years. Learnt sarod, vocal music, music collector, music craftsman, photographer, artist, music theorist.
Tags Calcutta, Radhika Mohan Maitra, Jon Barlow, sarod, Nikhil Banerjee, learning, 1962, 1963, Australia, Ali Akbar Khan
Language English

It’s just a personal anecdote about chance and I suppose fate. It is the recollection of my first encounter with Radhika Mohan Maitra, when I first visited Calcutta in 1971 to buy a musical instrument. I had been to Maihar in 1968-69 for a few months but found Allaudin Khan very old and frail. I was with my fellow Australian friend Alan Posselt who actually had some lessons with the old man but mostly we learned from Mr David, a Sri Lankan who was charged with the unenviable job of keeping the Allaudin Khan School there up and running and the Maihar Band in practice. It would be fair to call the learning process a bit desultory but we had a great time with visiting with Khansaheb and watching the Maharaja with a pop-gun chasing langurs off the tin sheets that he had covered decaying branches of his palace with. Shortly after this time I was living in  London where I made a quite respectable sarod from an  Elm wood log that a friend of my father had given me, it was half invented half reconstructed from a few instruments I had seen and though eccentric it was a fair stab in the dark. Studying sarod was important to me but I had no clear idea or instinct about what to do next. All I knew was that I wanted to get a good instrument as the one that I had bought in Delhi was miserable and the first instrument I had made was bizarre.  Everyone said you have to go to Calcutta and ask Hemen to make a good instrument, so finally I resolved to do just that. In Australia before leaving I got to know a chap by the name of John Bucklow who had befriended  Radhubabu when the latter went to

Radhika Mohan Moitra
Radhika Mohan Moitra

Australia as the leader of an Indian cultural mission sent by the Government of India in, I think, 1962 or 63.   Radhubabu had made  quite an impression among jazz aficionados. This just a year or two before Ravishankar and Ali Akbar explored the southern route. Anyway, John Bucklow had given me a bottle of Scotch whisky to present to Radhubabu. I did not know where to stay and went to Grand Hotel. I stayed there for one day. It was of course very expensive for me but I wanted to deliver the gift so first thing the next day, without checking out, I went to Radhubabu at his house in Kali Bari Lane at Jadavpur, to give him his bottle of whisky. He was delighted and asked ‘where do you stay’ and ‘what are you doing’, and told that I was looking for a sarod. ‘Oh, yes.’ and probably told me the names of some karekars. I knew that he was a sarod player but it did not register as an opportunity because I was so obsessed with Ali Akbar Khan that, strange as it may sound, I did not think asking for his advice. He said ‘Mr. Barlow if you want to spend a week or two in Calcutta finding what you need , I have a spare flat and you are very welcome to stay there.’. It was opposite his house on the ground floor and was a nice simple roomy apartment. So he gave me a place to stay and he treated me fantastically well but never suggested that I should learn with him. Radhubabu was a superb cook and was very kind and courteous. He treated me to wonderful food and taught me to eat  Ilish [Hilsa] without choking on the bones. I had previously met Nikhil Banerjee in Sydney at the house of Nadine Amadeo who was a great enthusiast for Indian Music and belonged to one of Australia’s prominent musical families. So having settled momentarily in Radhubabu’s flat I went to meet Nikhilda who lived not far away in Jodhpur Park, which in those days was very open with just a few apartment buildings and houses standing in the fields.  I told him that I wanted to learn the sarode but didn’t know what to do and that Maihar was certainly  not the best place any longer. He asked me where I was staying. I said that I was staying with Radhika Mohan Maitra and explained how it had happened. He started laughing and said that ‘you are laying on the lap of sarod!’ and  so with Nikhil Banerjee’s hearty recommendation I requested Radhubabu to teach me started learning with him.