Monsoon Masti
17th to 18th July, 2010 at Sandeepany Sadhanalaya, Mumbai
Chinmaya Naada Bindu organised a workshop on music and rhythm at the Powai ashram on 17 and 18 July 2010. The two days were packed with learning the basics of Hindustani classical music and rhythm with loads of fun (Masti)!
The workshop started with Smt. Pramodini Rao and Shri Himanshu Nanda giving a brief but insightful overview to the participants about the history of Hindustani classical music, and the developments over time. There was a lively discussion on what it takes to be a musician in which most of the participants expressed their views. This session was followed by learning two compositions in the monsoon ragas – Goud Malhar and Miya Malhar. Pramodini ably lead the diverse group of participants ranging from 9 years of age to 80 years to sing these compositions fairly in tune! The best part was that each participant felt the joy of the rainy season through these compositions.
Later that morning, the participants attended a lecture on Gita Chapter 15 by Swami Advaitanandaji, after which Pramodini and Himanshu explained the nuances of a classical music concert. This was useful to the majority of the participants who did not have a classical music base. Himanshu explained that the world of a musician is very different. A musician is greatly encouraged in one’s pursuit of the fine art when audiences congratulate one’s performance at the appropriate moments during a concert or even before or after the performance. Traditionally, this encouragement takes the form of clapping and saying “Kya baat hai” in the north of India. This phrase set the tone for the rest of the workshop and the entire group took great delight in congratulating each other and the faculty with at times exaggerated as well as sincere expressions of this statement.
There were sessions devoted to learning rhythm. Typically, rhythm is the heartbeat of any music composition and it is a complicated factor. Later, one participant who is a music teacher himself and had struggled with understanding rhythmic ‘bols’ commented that this complex factor was explained simply and with considerable genius by Pramodini, Himanshu and Anupam Mishra. “Teaching is the art of communication” said Swami Chinmayananda and His Grace is evident in the entire team of Chinmaya Naada Bindu {CNB} as they are able to explain complexities with simplicity and ease using games to liven up the sessions. Sessions were conducted on how to practice (riyaz) at home. These sessions were very useful to serious students in the group.
Inaugurated on September 13, 2009, Chinmaya Naada Bindu is a planned residential training center for classical Indian music and dance. It will be housed in Chinmaya Vibhooti, a spiritual resource center situated on 70 acres of land at the foothills of the sacred Sahyadri mountain range. Plans include ongoing classes along with workshops, performances and conferences that bring together renowned practitioners and educators of classical Indian music and dance with youth and students
After the evening temple aarati, the participants enjoyed a special treat which was a lecture demonstration session on Thumri taken by Smt. Sveta Kilpadi, a senior student of Jialalji, Smt. Manik Bhide and Smt. Suneeta Sen. Sveta was able to remove a serious misconception of the Thumri form of singing which is that it is predominantly unsuitable for respectable gatherings. Sveta explained how it originated from folk singers who used to sing outside temples and were called “Kathakaars”. Later these developed into the Kathak style of dance and Thumri which originates from the word ‘thumakna” in Hindi meaning swaying with music became associated with Kathak. During the Muslim rule of India (nearly 1,100 years) Kathak and Thumri adorned the courts of Muslim Kings and lost their innocence. However, in recent times, musicians like Sveta are trying to restore the Bhakti or devotional aspect in their rendering of Thumris. She illustrated several types of Thumris like kajri, saavan, chaiti, hori in her dulcet voice filled with bhava (expression). She mentioned that Thumri singing is bhava predominant whereas Khayal singing is raga predominant.
The next day began with a blissful meditation session conducted by Himanshu Nanda. This was followed by sessions devoted to learning Bhajans from Pramodini Rao. Pramodini is the personification of knowledge, devotion and music. Learning from her has the added advantage of learning from the composer herself. She does not merely teach the bhajan, she conveys the exact meaning and sentiment behind the words and gives tips on how to improvise the tune and modulate the voice to convey the sentiment while singing. Every participant took away a veritable treasure from these sessions in addition to the joy of listening to Pramodini’s melodious singing.
The afternoon had lively sessions on singing film songs related to the monsoons, presentations from the participants and their feedback and workshop impressions. The workshop concluded with inspiring performances from Swaranjali groups from Vashi, Thane, Powai and Mumbai. All are eagerly awaiting the next workshop! Truly, kya baat hai to the entire CNB team!
- Punita Chopra
(Monsoon Masti Participant)
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Programme Highlights
