Power of One

In a previous post, I wrote about one of the two steps needed to preserve Indian classical music, which was to cultivate an audience. I wanted to share an experience or realization I had last year that reminded me again that one person does have the power to change things.

In Oct 2008, I returned to Canada for the first time in over 2 years.

A lot had changed in those two years. When I had left, I had left with the intention to return in a year or two to start a master/phD program in Environmental Engineering. Alas, life had taken me through twists and turns and I was returning with a new goal in mind, something I could have never fathomed - to become a professional classical tabla player.

Over the previous year, family and friends had gotten pieces of information with regards to my career change and it didn't make a lot of sense to many. The reality was that I come from a community that does not have a large majority of Indian classical music listeners. While cliched, it was true, generally Gujaratis are more enthusiastic about folk music than classical music. In fact, a lot of people in our family friend circle did not even know who Zakir Hussain was, who is considered to be one of the most well-known Indian classical musicians and tabla players of our time. In this scenario, it was understandably difficult to find many who understood what I was doing or why I was doing. But, I must also include here that even though they didn't understand, they were be as supportive as possible.

The trip to Canada was important in many ways. It was a chance to explain firsthand what I was doing and why I was doing it.

A few months before I came to Toronto, I had performed my first solo, after 9 months of training, at Rhythm Riders' annual Guru Purnima function. Of course, I have lots of work to do, but it was nonetheless an important milestone for me. Soon after the performance, my tabla solo video was posted to Youtube as most of the people who wanted to see it were not in Ahmedabad for the performance. The outpouring of support and encouragement was incredible and hugely motivating, but it was only one step.

By the time I came to Canada, most had seen the video or heard of it. For many, watching my solo was the first time they had listened to a classical tabla performance. People were really impressed and asking about when if I would be performing concerts in Toronto during the trip. While the enthusiasm was incredible, it was midguided in the sense many understood what was very much an amateur performance to be one that could be quickly developed into one that could be put on a professional stage.

As I would explain how I had many years to go, I began to realize the wonderful opportunity I had in front of me. The reality was that many who watched my solo, watched it not because it was a tabla performance and they were interested in tabla, but they watched it because of me. They wanted to see what I was doing and were being supportive of my endeavours. Now I have the opportunity to open up the world of Indian classical music or atleast tabla playing to them.

I don't expect that everyone is going to turn into an Indian classical music lover, but I do know that many will grow in their understanding of the music. As they follow my progress, as they watch me grow from solo to solo, they too will begin to discern on some level the differences between amateur and immediate, advanced and professional. Through my personal journey, I have the chance to change the world around me in some small way.

The epitaph on an Anglican bishop's tombstone is very appropriate here:

When I was child, there was no limitation in my mind. I dreamt to change the world.

The more I grew up and tried to wise, I realized impossible to change it. And I decided to reduce my dream even a little and change my own country only but It was still impossible.

When I would an old man, in the last effort , I tried to change my own family. They were close to me. Unfortunately They ignored me.

And when I was dying, I realized (maybe for the first time) if I changed my self long time ago, I influenced my family by my examples and they’re supporting me, maybe could make my country be a better future and who knows, I could change the world.

Preserving Indian Classical Music Part 1: Creating an Audience

One concern that I have seen come up regularly is the about the future of Indian classical music. As maestros pass on, there is a growing lack of artists who can be compared to their Ustads. I won't tackle the question of why Indian classical music is dying, but rather will look at what can be done to ensure that it is preserved. The answer I believe is two-pronged. Musicians have to be cultivated and just as important, audience have to be cultivated. For the music to continue, there is must be people who can produce it and those who shall appreciate it and listen to it.

Audiences are most definitely changing. Only 20-30 years ago, a music concert by one artist could very easily be 3-4 hours long. Today in a span of a 2 hour concert, two to three artists will perform solos. Guruji often speaks of concerts that began at 8pm and ended in the wee hours of the morning. No one would move, let alone get up to get water or use the restroom during a concert, that was the level of involvement of the listens.

To listen to Indian classical music requires training. I am a perfect example of that. When I first began learning tabla, I knew VERY little about Indian classical music. When we would gather for music listening sessions with Guruji, the other students would be completely engrossed, reacting to taans and the way an artist render a raga, while none of the nuances were registering for me. I would catch myself zoning out and I'll admit it - falling asleep. Even within a year that has changed. I still don't know all the nuances and don't expect to understand them all in a year, but my comprehension is increasing. I am beginning to appreciate the music and the artistry of the musician more; and I'm not falling asleep. That is called training. I am being trained to listen to Indian classical music. As musicians would say (translated) - m y ears are opening.

Another example of audience education can be given in a geographical context. Kolkatta is considered the heart of Indian classical music. The toughest and most discerning audience is found in this city. Amdavadis is comparison don't quite live up to the mark. What might appeal to the music audience here and having them show their appreciation might not invoke the same reaction in Kolkatta as the expectations are higher. Kolkatta audiences are more trained. This is not surprising as the city is and has been home to many high quality musicians.

Training an audience will not happen on its own. It requires a concerted effort and is a valuable endeavour. If audiences are not trained to distinguish poor from mediocre, good from excellent, the artist has one less reason to push themselves to become better and better at their art (where this is the correct thought process or not is a different topic). When you gain widespread appeal for subpar or mediorce work, the market incentive to do better disappears.

The question then arises of how? Well, its not easy. Getting someone who only listens to modern Bollywood music (which can be quite poor in musicality) to listen to an alaap of Bhairavi is not going to happen overnight. But in small amounts, an appreciation can be created. One can say that today's well-done fusion that incorporates Indian classical music is one way of training in small doses, but it has to continue from there.

One way that Guruji has tried to tackle this issue is through his contemporary tabla ensembles, which we call "tabla fusion". Why tabla fusion because tabla traditionally is not performed as group so the presentation style is different. Also, the compositions, which are all his own, are made keeping a mainstream audience in mind. So you have all the facets of tabla playing that will make the common man give appreciation. BUT at the same, the essence of all the compositions is classical tabla playing. The intricacy and difficulty of the compositions is such that only his senior disciples can play them. The nuances of classical tabla playing are all intact. The presentation style though is such that even a person who will run at the name of a tabla solo concert will be asking when the next ensemble performance is. It is after all, 2 -5 tabla players playing super fast pieces in complete synchronization. Imagine the power of 5 tabla players playing dha at one time. (If you don't want to image, watch the video of his latest tabla ensemble - Tabla Ecstasy). His ensembles have performed all over and its a common response to see people inspired to learn tabla or come to tabla performances afterwards.

So how can audiences be created? By education, by exposure to this music. Its as simple as one person encouraging their friends and family to come to a show, giving them music to listen to. More concerts, more workshops, more access.

The benefit of the virtual world is that it has made it easier to find music, there are videos all over youtube, etc; but it has to be filtered. Again, poor should not be passed off as good. How can you tell? By building your personal database (mentally) by listening to more and more stuff and hopefully having a more educated ear to guide you. As you listen to more, your references grow and hopefully your discerning abilities as well. But ultimately, I think you do need a guide to this world of music to educate you about it.

A concerted effort has to be made to bring and keep Indian classical music in the forefront of society's music preferences. If the audience demands it, high quality Indian classical music can continue for a long time.