Dr. Snigdhatanu Banerjee
Associate Professor, Department of Music
Bir Bikram Memorial College, Agartala, Tripura
E-mail: drstbanerjee@gmail.com
Vidwan ID: 216090
Abstract
Hindustani Classical Music evolved from Indian Classical Music which appeared in a number of Classical and Semi-classical Forms during the medieval period in northern India. Initially, the Classical Forms and later on some Semi-classical Forms under Hindustani Music were considered as Court-music and the same being patronized by the Kings, the Nawabs, and the Zaminders of our country. Gradually the trend of this music expanded to the eastern region of India. Raga being an integral part of Classical music and the prevailing Cultural Tradition of our country, both Classical and Semi-classical music have enriched the repository of Hindustani Music through the form of Cheez or Bandish (composition) as certain Classical and Semi-classical genres by the noble contribution of the Court-musicians and the Gharana exponents.
Girija Shankar Chakraborty of Bengal was born in the mid of nineteenth century A.D. and made a permanent and indispensable position in the world of Hindustani Music since the second decade of the twentieth century A.D. Besides being a Performer and a Trainer he served other various roles for the spread and development of both the Classical and the Semi-classical genres and ultimately has left a permanent significant impression in the minds of music lovers. This paper explores Girija Shankar’s excellence in the field of Hindustani Music which will prove his distinctness from other contemporary music professionals of Bengal.
Keywords: contemporary music, Bengal, Cultural Tradition; Gharana; Hindustani Music; Raga
Introduction:
India possesses a high degree of Culture. Music along with formal educational infrastructure had been a part and parcel of Culture in this country till the Acharya-Shishya Parampara continued. The role of an Acharya or a Guru (trainer) in our country is immeasurable. They constituted Parampara (tradition) through the chain of disciples to regulate the Cultural infrastructure throughout the country. The Kings were the financial supporters of smooth conduction of this system. The Parampara encouraged research, experimentation, manuscripts writing about various disciplines, and other academic matters through a generation of wise and dedicated disciples. The concepts of various matters on Music alike other subjects, in most of the cases, had maximum similarities with minimal controversies irrespective of regions of this country. The erudite people of Musicology (the subject dealing with the logical knowledge of both theory and practice) of different parts of this country met themselves for regular intervals in the meetings through discussions and after unanimous decisions inferences were taken and the same were registered in the manuscripts as written documents. The entire process occurred officially in front of the Kings (Ghosh, 94).
The Acharya-Shishya Parampara was discontinued during medieval period. The Court-music came into prominence with the abolition of the old system. The so-called Gayak-Vadak-Nartak Parampara (the musician class, involved in vocal music, instrumental music, and dance) got privileged to the Royal Courts and a new trend of music with its branches began to be developed in course of time in northern India and gave birth to Hindustani Music. This musician class was the imitator of the music, prevalent in the old Parampara made by the Acharyas. The Acharyas shifted to southern India and engaged themselves in the development of the music therein. Hindustani Music flourished gradually with various Classical and Semi-classical Forms; respective styles of music were accordingly established. Dhrupad, Dhamar, Khyal, Tarana, etc. are the Classical Forms while Tappa and Thumri are the Semi-classical Forms, as considered prevalent cultural resources of our country.
The exploration of Rag-raginis (Raga) and experimentations is traced from the Gandharva period. The Gaandharvas played significant roles in the development of Ragas and the then prevalent Classical or classicized (modified) forms of music. The ancient treatises like Natyashashtra of Bharat Muni, Brihaddeshi of Matanga Muni, and Sangeet Ratnakar of Sarangadeva explain the evolution of Ragas and contemporary Classical and Deshi (regional) music, occurred during different time periods. Even the old treatise like Naradiya Siksha during the Vedic age describes the origin and development of Vedic (classical) and Laukik (regional) Swaras or musical notes. The foundation of Indian music, raga is essential to the performance of classical music. Indian classical music is defined as a structured, elegant musical presentation that uses distinct note and rhythm embellishments and appropriate sound articulation. The potent components of classical music that express particular moods are combined to produce a raga. There is not much question that classical music represents a progression in music that was not achieved overnight. The musicologists (those with logical knowledge of music) and the music professionals achieved their success through perseverance, hard practice, and extreme dedication.
The Classical or classicized musical Forms and Styles imply exclusive and creative compositions of the individuals irrespective of age which are real cultural treasures of our country. The Kings, the Nawabs, and the Zaminders (owners of lands and wealth) had been kind enough to patronize Court-music and the music professionals thereof for the sustainability of the practice, performance, and development of this music. On the eve of India’s independence, many modern Riyasat (native lands or estates) were ruled by specific monarchs. One could consider the Royal Courts of Lucknow, Gwalior, Rampur, Jaipur, Betiya, Baroda, and others as examples of how the rulers have been kind benefactors of the advancement of Indian art and culture. Several Hindustani classical music musicians were patronized by Nawab Wazid Ali Shah (1847–1854) of the Lucknow Royal Court, Raja Daulat Rao Sindhiya and his descendants of the Gwalior Royal Court, Nawab Kolbe Ali Khan and his descendants of the Rampur Royal Court, and several more rulers of various Royal Courts (Chakraborty, 23-62). A large number of the rulers were quite interested in and experienced various forms of Indian art and culture. A few of them possessed skills in various forms of Indian classical music and dance.
Taleem, the term which means proper and conventional learning under the tutelage of a Guru acts significant role to build up expertise and through a continuous long term rigorous training a disciple proves himself as an able representative in particular field/s of Hindustani music. This music encourages Gharana system in learning as well as presentation which proved to be unique and versatile style in Dhrupad and Khyal as Court-music. Later on, Tappa and Thumri were also known to be familiar with different styles in presentation because of the adoption of those Semi-classical Forms by the Court-musicians as well as Gharana representatives.
The role of a Guru in our country is considered with great regard and the Parampara or the continuity of conventional learning is always a social documentation. In the ancient Acharya-Shishya Parampara, music theory and practice were complimentary and equally significant. Gharana discusses how professional musicians have changed their social and cultural perspectives. Professionalism was actually increasingly given priority over ancient, traditional values in the Acharya-Shishya Parampara. Day by day, theoretical and analytical ideas started to lose their glory, and with the emergence of court music culture and Gharana, the place of practice rapidly began to rise.
Girija Shankar Chakraborty (1885-1948) was born in Baharampur of Murshidabad. He was a skilled Music artist and creative personality. He excelled in Thumri, a Semi-classical genre; though he received immense Taleem (learning) and had expertise both in Dhrupad, Khyal, and Thumri (Sengupta & Basu, 129). Girija Shankar’s versatility in the performances, training, and other manifold benevolences related to the spread and development of Hindustani music have been put together in this paper. All this information has been collected from different printing resources such as books, periodicals, and websites as Secondary Data.
Highlights on Girija Shankar’s Expertise:
Girija Shankar Chakraborty probably started learning Hindustani Classical Music especially Dhrupad at Baharampur in 1904 A.D. It became possible due to the foundation of a Music School at Baharampur, financed by Maharaja Sir Manindra Chandra Nandi Bahadur, the King of Kashim Bazar of Baharampur. Girija Shankar had the opportunity to learn from Radhika Prasad Goswami, the renowned Dhrupadiya (Dhrupad maestro). He has acknowledged the magnanimity of the King of Kashim Bazar as he took measures to spread the training of Hindustani music among the local general learners besides Maharaja’s keen interest in such music (Chakraborty, 193-197). Manindra Chandra himself took Girija Shankar to Delhi and arranged for the latter to learn Khyal from Ustad Muzaffar Khan (Chakraborty, 196).
Girija Shankar received the training of Dhrupad and Dhamar for 7/8 years from Radhika Prasad Goswami. He went to Rampur and learned Hori (Dhamar) and Dhrupad from Ustad Mahammad Ali Khan, the last descendant of Miyan Tansen. He acquired knowledge of different Ragas from Enayaat Khan of Rampur. He also underwent Taleem from Ustad Saadat Ali who was known as Chhamman Sahab (Acharya, 134-135). Chhamman Sahab had a vast collection of Dhrupad and Thumri. Girija Shankar acquired the technique and style of proper rendition of Thumri from him. Girija Shankar was also taught by Chhamman Sahab exclusive Dhrupads of Rampur, being popular by Ustad Wazir Khan, the Court-musician of Rampur Court (Mukhopadhyay, 87). From another source, it is known that Girija Shankar often came to Kolkata from Baharampur in order to learn Dhrupad from Radhika Prasad Goswami. In the later years, he settled in Kolkata and began to learn from Ustad Badal Khan Sahab (Mukhopadhyay, 86). Girija Shankar came into contact with Shyamlal Kshetri around the year 1911 A.D. who made it convenient for him to learn from Chhamman Sahab, Mahammad Ali Khan, and Enaayaat Hussain Khan. Even the training from Ustad Badal Khan was made possible at Shyamlal’s residence (Chakraborty, 67). He became a disciple of Bhaiya Sahab Ganpat Rao, a Thumri maestro. He was influenced by the wonderful rendition of Maijuddin Khan, another maestro, and disciple of Bhaiya Sahab. Maijuddin’s singing style helped Girija Shankar to shape his own rendition of Thumri (Acharya, 135). From other sources, Girija Shankar underwent Taleem of Dhrupad from Nasiruddin Khan and Bol-Banaao Thumri from Maijuddin ( ). Another source claims that Girija Shankar learned from Wazir Khan of Rampur, Enaayaat Hussain Khan of Gwalior, and Bade Munne Khan of Lucknow ( ). It is also heard of his learning Khyal from Ustad Munne Khan; also having training in Hindi and Urdu languages, obtained from a Maulavi (a religious Muslim erudite) of Lucknow which enabled Girija Shankar proper rendition of diction in music (Goswami, 227). So, it can be unhesitatingly said that Girija Shankar received immense Taleem of Dhrupad, Dhamar, Khyal, and Thumri from renowned veteran maestros by which Girija Shankar achieved a great deal of command over different branches of Hindustani music.
Girija Shankar was a great performer and hints in this regard are supported in some printing sources. He used to enthrall the audience of the Concerts of Classical Music throughout India. Both the Pandits and Ustads had countless regard for their extraordinary excellence in their performances (Acharya, 135). Nagendranath Bhattacharya (1856-1933) of Bengal was a towering personality in the field of Hindustani music and may be compared to some extent with Girija Shankar Chakraborty. Nagendranath had a great deal of command both in Dhrupad, Khyal, Tappa, and Thumri. He excelled in Khyal and Tappa; and earned profuse fame as a Performer. He also performed in many places in India with credit. But he sacrificed his career as a Performer and trained a number of talented disciples who continued the trend of his learning till the mid of the twentieth century A.D. Girija Shankar should be regarded with great honour because of the spread and popularity of Khyal and Thumri among the civilized general people of Kolkata irrespective of male and female (Mukhopadhyay, 86). Especially he played a wonderful role in expanding the learning of Hindustani music for the ladies of Bengal.
Girija Shankar produced a number of disciples and among them, some of them became renowned Performers while others put their names as successful trainers. His disciples who earned nationwide fame were Tarapada Chakraborty, Radhabinode Thakur (Habol Gonsai), Jamini Ganguly, Rathin Chatterjee, and A.T.Kanan. The disciples famous in Bengal were Shailen Banerjee, Sudhirlal Chakraborty, Sukhendu Goswami, Jnanprakash Ghosh, Sunil Basu, Biresh Roy, Sadhana Sen, Belarani Sen, Arati Das, Ibha Guha, Shantilata Banerjee, Uma Dey, Chinmoy Lahidi, Rajen Bandyopadhyay etc. Naina Debi of Delhi was also her disciple (Acharya, 135).
In 1935 A.D. he received the award of the Best Teacher in All India Music Competition of Allahabad (Acharya, 135). From another source, Girija Shankar was awarded the Best Teachers Cup in the Allahabad Music Conference as most of his students ranked in the competition. Ustad Nasiruddin Khan and Ustad Allauddin Khan acted in the role of the judges. Jamini Ganguly, one of his favourite students earned fame as a Khyaliya (Performer of Khyal). Raathin Chattopadhyay, Shailen Bandyopadhyay, and Shantilata Mukhopadhyay were other students who participated and got awarded in that competition (https://www.anandabazar.com/patrika/some-unknown-stories-of-musical-artist-girija-shankar-chakraborty-1.764600 accessed on 29.11.2024.). Girija Shankar acted as one of the Editors of Sangeet Vijnan Praveshika, the famous Music Periodical.
Critical analysis:
Girija Shankar Chakraborty underwent sufficient Taleem from different Gharana maestros and naturally attained high potentiality both in performance and training. It is Girija Shankar by dint of which The Bandishes (compositions) of Rampur, obtained from Ustad Enaayaat Hussain Khan became popular in Bengal. Till today Jhanan Jhanan…of Raga Chhayanat, Papi Dadurba Bulayee… of Raga Gaud Malhar, Tadapata Raina Din of Maru Behag being sung among the practitioners of this place. All these are the compositions of Ustadji (Mukhopadhyay, 86). Nagendrannath Bhattacharya, Girija Shankar Chakraborty, and a very few stalwart music professionals performed and popularized Hindustani music. The predecessors of these professionals such as Ramshankar Bhattacharya (1761-1853), Vishnu Chandra Chakraborty (1804-1900), Kalidas Chattopadhyay or Kali Mirza (1750-1820), Ramnidhi Gupta or Nidhu Babu (1741-1839) concentrated on the expansion of the essence of Hindustani music among the Bengalees mostly through Bengali language. They emphasized particularly on Dhrupad and Tappa. In this case, Girija Shankar worked for the spread and development of Khyal and Thumri among the Bengalees. Of course, by that time the Bengalees already started realizing the essence of the Classical and Semi-classical genres. So, it worked effectively flourishing the learning of different branches of Hindustani music throughout Bengal. One thing is very important to know that starting from the mid of nineteenth century A.D. till the first few decades of the twentieth century A.D. many music professionals and practitioners are seen to be undergoing learning Hindustani music from renowned music maestros belonging to different Gharanas. As a result, the rate of practice and development of such music in Bengal rapidly increased. An attempt about the chain of disciples for the learning of Classical and semi-classical genres has been taken through diagrams for a better understanding of this matter.
Conclusion:
Ramshankar Bhattacharya, Vishnu chandra Chakraborty, Kalidas Chattopadhyay or Kali Mirza, Ramnidhi Gupta or Nidhu Babu had already been preparing the base of understanding of Hindustani music especially Dhrupad and Tappa starting almost from the beginning of nineteenth century A.D. The practice and development of Thumri in Kolkata among the Bengalees happened due to the courtesy of Nawab Wazid Ali Shah of Metiyaburz Royal Court (1856-1887 A.D.) and the disciples of Ganpat Rao of Gwalior Gharana. The Bengalees initially embraced Dhrupad and Tappa and began to learn and practice them as well. Khyal and Thumri were exercised by them a bit later (Goswami 68). The contribution of both the Jorasanko and the Pathuriyaghata Tagore families to the exercise and spread of Hindustani Classical Music is innumerable. Residence of Satu Babu (Ashutosh Deb 1805-1856 A.D.), the same of the Lahas at Thanthaniya, the Sinhas’ at Jorasanko, the Shobhabazar Rajbadi, the Kashipur (Baranagar) Rajbadi, and the Royal Court of Nawab Wazid Ali Shah at Metiyaburz were significant places of Kolkata where the maestros of Hindustani classical music performed and got patronized. The Bengalees of mid-nineteenth century A.D. availed adequate scope of learning Hindustani classical music from different Gharana maestros which culturally enriched Bengal with varied virtuosity. All these happened to Girija Shankar Chakraborty and other contemporary music professionals of Bengal appearing to be successful and indispensable personalities in the field of Hindustani music. The Researchers and Music Practitioners should have a clear conception of the history of this music as well as the music maestros whose countless contributions have made it possible for the widespread of different Classical as well as Semi-classical genres of Hindustani music. Then only the controversies and misconceptions in this field will disappear and we shall be able to focus on true facts and true success in this regard.
