Awakening Snippet Three

Awakening

Snippet Three

According to Pt Ravi Shankar, the musical form ‘Dhrupad’ appeared in the 15th century as a development from ‘prabandha’ (semi-historical anecdotes about famous persons), which it replaced. ‘Chanda’ and ‘prabandha’ were vocal styles that evolved from ‘samagana’ – the form and style in which the ‘Samaveda’ used to be chanted.

According to some music historians, ‘Dhrupad’ originated in the court of Man Singh Tomar who was the ruler of Gwalior (1486-1516). The 16th century bhakti saint Haridas Swami was a ‘Dhrupad’ singer with songs dedicated to Lord Krishna. ‘Dhruva’ means ‘permanent’ and ‘pada’ means ‘verse’. Though usually related to philosophical or devotional (to a god or goddess) themes, some ‘Dhrupads’ were composed to praise kings.

‘Dhrupad’ is long, solemn, spiritual, pure, heroic and uplifting. Any instrument used for ‘Dhrupad’ must have a deep bass register and long sustain. Rudra Veena is the most common. Sometimes, Surbahar or Sursringer are also used. For percussion, pakhavaz or mridang is used.??

Arriving at the final lap of the first phase of my research, I have spent some more time on ‘Dhrupad’ than I have been spending usually on other genres of music. And my general realisation is, that?amongst various forms of ‘Indian Classical Music’ (ICM), ‘Dhrupad’ is perhaps the only one having the potential of producing ‘Sustained Happiness’ in the musician and a genuine music-loving attentive listener. The reasons are stated below:

(1) ‘True Word’: ‘Dhrupad’ means the ‘true word’ – something which is genuine, coming from the deepest core of your heart. The musician must BELIEVE in what he is singing or playing; the music-loving listener must BELIEVE in what he (no gender bias) is listening. Therefore, a genuine performance must start with the musician ‘humming’ or ‘chanting’ ‘OM’ three times (like the ‘tihai’) before the ‘alap’ is started. [Biologically, whether the musician nurtures such a TRUE BELIEF can be ascertained by measuring the level of the trust molecule ‘Oxytocin’ (O) in his (no gender bias) blood.]

(2) ‘Attitude’ Is the ‘Key’ Factor: Let me refresh you with my ‘K-A-S-H’ for ‘CASH’ formula, where ‘CASH’ represents ‘Success’ in any endeavour including a musical performance; and in ‘K-A-S-H’, ‘K’ represents ‘Knowledge’, ‘A’ represents ‘Attitude’, ‘S’ represents ‘Skills’ and ‘H’ – ‘Habits’. My 50 years of research on successful people from different professions and domains has confirmed that out of ‘K’, ‘A’, ‘S’ and ‘H’, ‘A’ for ‘Attitude’ is the ‘key’ factor. If you have the ‘Right Mental Attitude’ (RMA), you will take pains to learn, acquire up-to-date knowledge, make it a ‘Habit’ to practice regularly and for hours to develop perfect ‘Skills’. [For analysis of the musician’s ‘Attitude’ my ‘Attitudinal Mirror’ technique can be used with slight adaptations. Consult my ‘Performance Management’ book for ‘Attitudinal Mirror’ – cited in reference.]

Learning and performing, or listening to ‘Dhrupad’ which carries the ‘True’ and ‘Genuine’ praiseworthy ‘Words’ about a god, a goddess or a king or royalty would require an ‘Attitude’ of total TRUST & SURRENDER to that SOUL who is on a higher plane. You get into your ‘Child’ (C) ego-state as the performer and listener, honouring the higher SOUL as your ‘Parent’ (P). [Please refer to Dr Eric Berne’s book ‘Games People Play’ – reference cited, to know about the concept of ‘Ego-states’.]

(3) Visualisation: A (C) can see the (P) who is present near him, but an orphan who has lost his parents has to VISUALISE (that is, imagine & see in the mind’s eye) the (P) by remembering his good qualities and remarkable character traits. If the performance is in a temple or the worship room, the image of the deity is in front of the musician as well as the music-loving listener (same is the case if the concert is taking place in a royal court) – there is no need to VISUALISE. The musician can sing or play his instrument, the listener can listen with their eyes wide open. But, if the performance is taking place in a public place like a concert hall, an auditorium, or under a shamiana, there is no deity, no royalty – the musician has to perform with his eyes closed as, you cannot visualise something with your eyes widely open. Your brain’s ‘Visual Cortex’ in the occipital lobes cannot handle twin tasks at the same time – that is, looking at the external environment with the eyes open and visualising something in the mind. It can handle either of the two tasks.?

(4) Binaural Drone Sound in the Background: To help the musician to use his brain’s relevant functions most effectively, there should be two accompanist tanpura players sitting on two sides behind the musician, one for sound reception by the left ear which goes to the right brain and the other for reception by the right ear for processing by the left brain. This ‘Binaural Drone Sound’ helps to lead the musician into the ‘FLOW Brain State’ (FBS) which paves the route for ‘Sustained Happiness’. The peaceful ambience triggers activity of the ‘Para-Sympathetic Nervous System’ (PSNS) making the trillion body (outside & inside) microbes happy and restful – doing their functional work without any hassle, ensuring ‘Gut Health’.?

(5) Rhythm Accompaniment: In ‘Dhrupad’ the ‘alap’ portion should be made as long as possible to earn and remain in FBS easily. Usual percussion accompaniment is ‘Pakhavaz’ on the right side. Best results are obtained if the vocalist performs alone, an elongated ‘alap’ portion without the percussion. Ustad Bahauddin Dagar (born 1970), the foremost Rudra Veena player of modern times had performed ‘Dhrupad’ alone for 4 (four) hours at a stretch at the ‘Darbar’ festival in London a few years ago. [Ref. cited].?However, if percussion accompaniment is used then with a permanent percussionist ‘ideal synergic pairing’ is possible.??

(6) Hand Gestures (Hasta Mudra): During the ‘alap’ portion, there is graceful use of hand gestures to serve the following purposes: (i) free flow of ‘prana’ or ‘pranik energy’ (life force); (ii) simulation of ‘worshipping’ gestures; (iii) simulation of effective function of the ‘Prana Vayu’ whose function is to obtain resources from the environment & distribute it to different departments of the body; (iv) simulation of effective energy input and output via the 7 (seven) ‘chakras’ from the ‘crown’ at the top of the head to the ‘root’ at the tail end of the spine.

(7) Erect Posture: In order to ensure proper alignment of the 7 (seven) ‘chakras’.??

(8) ‘Solo’, ‘Duet’ or ‘Trio’: Solo performance can lead to ‘FLOW Brain State’ (FBS) during ‘alap’, but if two or more than two musicians take part, then lot of practice together would be necessary to develop a PERFECT SYNERGY for attainment of FBS.?

(9) Secular Form of Musical Offering to God/Higher Authority: Although ‘Dhrupad’ is an ancient Hindu devotional form of music, it has evolved over decades and centuries as a secular form of musical offering. Right from its inception, ‘Dhrupad’ has been performed equally proficiently and popularly by Hindu as well as Muslim (also a few Christian) artistes at various religious venues such as temples, churches and mosques.?

(10) Ample Scope for Creativity: ‘Dhrupad’ performance begins with a wholly improvised section – the ‘alap’, where the musician has a lot of freedom to eulogise the god, goddess, king, or any higher authority using his own ingenuity and creative style. In most styles of ‘Dhrupad’, the long elaborate ‘alap’ can last even longer than an hour, as already mentioned, clearing the route for ‘Sustained Happiness’.

Note: More interesting points will be shared in the next piece.

Link has been provided to a wonderful ‘dhrupad’ performance by Pt. Ashish Sankrityayan.?

https://youtu.be/E4l_J877tdk

[References:

1. Siddhartha Ganguli, PhD, “Performance Management: First time Right”, Kolkata: Platinum Publishers, 2008.

2. Eric Berne, MD, “Games People Play”, New York: Grove Press, 1964.

3. Lakshmi Anand, “Interview of Mohi Bahauddin Dagar”, Music & Moorings, 23rd July, 2021.]