by Shamoni Mulay
Pics Shreerang Sunkersett

Music they say can provide connections to your fond memories, it can uplift your spirit and most often music can speak to your soul. But music can also take you on a spiritual bliss. It was this spiritual bliss that Atlanta music lovers experienced on Saturday 3rd May, at the GA Tech Student Center Theatre. Prayas and ICMS invited the illustrious Padmashree Gundecha Brothers who bequeathed Atlanta with a performance resonates within the mind and heart and becomes an exceptional memory.

Gundecha Brothers are the leading exponents of the Dhrupad style of music and are the most active performers of this style in India and the international platforms. They have learned the Dhrupad vocal art under the renowned senior Dagar brothers, under guru shishya paramapara and continue to promote the Dagarvani Dhrupad tradition. Pandit Akhilesh Gundecha who so skilfully accompanied the vocals with Pakhawaj has learned his art from Pandit Shrikant Mishra and Raja Chhatrapati Singh JuDeo. They were also accompanied by Renu Gundecha and Nirant Gundecha on Tanpura.
Dhrupad, a vocal genre of music, is the most ancient style of Hindustani classical music that has survived until today in its original form. The word Dhrupad is derived from DHRUVA the steadfast evening star and PADA meaning poetry. It is a form of devotional music that traces its origin to the ancient text of Sam Veda. The SAM VEDA was chanted with the help of melody and rhythm called Samgana, which gradually developed into other vocal style called ‘Chhanda’ and ‘Prabandha’ with introduction of verse and meter. The fusion of these two elements led to the emergence of Dhrupad.

The nature of Dhrupad music is spiritual, seeking not to entertain, but to induce feelings of peace and contemplation thereby attaining ‘Atmashanti’. The first half of the concert began with raga Marwa. The singers started with a long Alaap and it felt as though the time stood still while the mind focused on the notes that vibrated as fluid entities with infinite microtonal shades. The introspective stance of the singers, with eyes closed through the elucidation of the raga from Alaap to Sargam was hypnotic. It was as though they were in a meditative trance doing vocal acrobats with perfect symphony and unpanelled melody. It was enchanting to see them talk to the swaras with their hands, pulling them, swirling them around, quivering and caressed them. The low octave notes and the reverberating sound of the Pakhawaj made the atmosphere surreal and the soul did rise into a spiritual ecstasy.
The second half of the concert was initiated with a few questions from the audience who were inquisitive about the relatively less heard Dhrupad style of music. The artists were humble and delighted to share their knowledge, experience and feelings. When asked by someone as to why they chose to practice Dhrupad, Panditji modestly said, “It isn’t us who chose Dhrupad, but we are blessed that Dhrupad chose us.” They also explained the distinct characteristic of Dhrupad, where a singer stays steady on one note without moving in and out, which seems like the note progresses in a straight line. The audience were introduced to different Banis of Dhrupad and compositions that are commonly sung. They acknowledged the fact that like the Khayal singers it is important to introduce new compositions in Dhrupad. Saying so, the artists focused more on Bandish in the second half. They began with raga Charukeshi and Kabir’s bhajan. It is enthralling to hear Kabir’s poetry composed in Dhrupad and an innovative approach much welcome in Dhrupad. Next was a composition in raga Saraswati and the finale was a Shiva invocation in raga Adana. As the sound of pakhawaj echoed loud in the auditorium and their voices merged together, one could only imagine how majestic Shiva’s anand tandav might have been. A standing applause and awestruck expression of the audience could only but fractionally explain the unforgettable experience of the evening.

We were lucky to share a few words with the artists and are excited to share the excerpts from the interview.
Why is it important for a student of music to learn the base of Dhrupad?
Although not practiced often today, it is ideally important for any student of music to learn Dhrupad, mainly because it helps the student to have a complete grasp over the notes and voice culture.
Some feel Dhrupad is a restrictive style while some feel it is very versatile, what is true?
Dhrupad is versatile and has everything that Hindustani classical music requires, unfortunately artists or performers have somehow lacked in presenting the form in a way that people could understand or could be enjoyable for all. It is now that people have truly started understanding this style, sing in this style and enjoy it. We are glad to continue building the awareness and liking towards this style.
Could you tell us more about the Dhrupad Institute?
The Dhrupad Institute is in Bhopal and aspires to promote and preserve the rich heritage of Indian Classical Form Dhrupad through the ‘Guru Shishya Parampara’. It is a residential institute where about 12 students are receiving a four year scholarship including tuition, lodging and boarding 6 of who are women. We have had students from over 30 countries here at different times. At the institute, we aim at documenting the archive and finding the available information about Dhrupad and its illustrious history.
Why are women singers not often seen in the forefront of Dhrupad style?
It is unfortunate that women were shunned away from this majestic musical style. There is no apparent reason why women can’t be as proficient singers as men. We encourage women to learn and master this style. In fact our students are now performing on international stage and are competent singers.
Will we see new compositions in Dhrupad?
Yes certainly! We have incorporated poetry not only from legendary poets like Kabir and Tulsidas, but we are also composing poetries from Mahadevi Verma, Jaishankar Prasad, Padmakar and Nirala. We write poetry ourselves and are composing them and we intend to keep doing so. We are infamously known to insert nontraditional style in Dhrupad, but this is necessary for this art to travel further in time and retain its true glory. We will always encourage our students to create new compositions as well.
How do you foresee the future for Dhrupad?
The future for Dhrupad is very bright! Our gurus have put in a lot of efforts in reviving Dhrupad and they were gracious to share their knowledge with us instead on keeping it closed within the family. This allowed the style to flourish and be heard by many. We follow the same teachings and we pass on our knowledge to all those who commit. Our students are emerging as proficient singers and we are sure they will continue the Dhrupad tradition successfully.

As the night ended one could only think of what Johann Sebastian Bach said, “Music is an agreeable harmony for the honour of God and the permissible delights of the soul.” The Gundecha brothers sure knew how to honour gods and Dhrupad was the delight for all souls.
This remarkable concert would not have been possible, without Prayas. An Atlanta based non-profit organization that provides scholarships and support to hundreds of students in India. In the last fourteen years Prayas has supported students in nine different states of India, at all levels of education ranging from elementary to post-graduate. The organization is ably lead by Tarun Talwar, CEO of an IT firm in Atlanta, along with several committed volunteers. You can visit them at www.prayas.org to know more about the excellent work being done by Prayas.
The concert was also supported by Mindspan Systems – a well-known IT firm headquartered in Atlanta, and ICMS – the leading Indian classical music group in Atlanta.