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"Sing with sincerity and be your own audience" says 'Gaan Saraswati', 'Sangeet Koumudi' Dr. Alka Deo Marulkar,
when asked for advice for upcoming artistes. "Classical music needs a hands-on approach and cannot come by merely getting a university degree in it - rigorous practice for about 4-5 hrs a day and constant meditative contemplation on a raga is required for the music to be of high quality. One cannot last on 'stock patterns' or a 'template approach' to elaboration of raga - creativity and proper knowledge of the framework is essential". "One can claim to be an artiste only when one has music, the commitment of a profession", says this ardent guru who has trained a number of students privately and through Goa's Kala Academy (in the capacity of Director) with her scientific teaching methodology. |
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Speaking of the requisites to pursue Hindustani Classical music as an art, Dr. Alka says that to get a good foundation to become an artiste, "initiation at the age of about 6, good discipline, an enabling environment (that encourages listening), 10-12 years of intensive training under an able guru" is a must. "Further the artiste has to develop with his own effort, constantly updating his music, practicing and putting the necessary contemplation/reflection. While there is no need to forsake academics, it is important that music is treated as first priority and a fairly large share (3/4) of available time is devoted to its pursuit", she says. . She says, "an upcoming musician should maintain a diary of music practice, keeping track of what was attempted and what difficulties arose". "These issues are to be later resolved in discussion with the guru", advises this articulate and well-traveled Pandita.
"Earlier, an artiste would submit like a fakir to music, not worrying about its monetary impact - sacrifices that were necessary were made; his family supported him in his every endeavor. Today the trend is quite different - artistes give importance to their marketing of their 'product', publicity and handsome remuneration; this has led to insecurity among artistes. While on the one hand this 'market orientation' (focus towards audience and organizers) has resulted in a professionally perfect artiste (repeatability of concert success), it has also given rise to a mind-set of "cashing in on tried and tested stuff" or even resorting to gimmickry/compromises, and restlessness", says this second generation artiste who as it appears, not only focuses on the goal, but enjoys the journey as well.
Jaipur Gharana
Describing Jaipur-gharana's signature style as "Ras (eloquence) and Kas (concise/precise gist)", Dr. Alka enumerates Jaipur gharana's salient features as singing Jod-raga (double raga), serpentine taan, projection of the space between two beats of the rhythm (taal), singing equivalent vakra taans for vakra ragas (if a raga doesn't have a straight forward ascending/descending scale, then how can a taan be straight forward she questions), bandish that is tautly wound around the cycle of beats. "In this gayaki, the raga can be seen objectively without the influence of the personality rendering it", adds this sought after artiste. She adds, "we sing the bandish as it was composed, and elaboration is done with the help of note-phrases rather than plain sustained notes". Differentiating Jaipur gharana from others, she feels that laya is dealt with in 'a subtle way, with a meandering of notes' and is 'somewhere in between a more relaxed Kirana/Patiala gharana (with respect to laya), and a more laya focused Agra gharana'.
Style of her own and her inspiration
Vidushi Alka draws her inspiration from her gurus - father 'Gaan Ramaiyya' Pt. Rajabhau Deo (outstanding vocalist of Gwalior, Kirana and Jaipur gharanas) and Pt. M.S. Kanetkar (veteran artiste of Jaipur gharana). Having been initiated very early into music, she remembers being taught bandish-es by her father at age 4. "My father had a vision for me to be an artiste and I have absolutely no regrets that he made that decision for me. I hadn't thought of it as a profession then, but I knew I had to be a cut above the ordinary. Fame and money were not at all the considerations," adds this A grade AIR artiste for whom music is 'tapasya'. She adds that the best of the 3 gharanas' gayaki was taught to her by her father and at 35, her own style began to emerge. A few years later her gayaki had crystallized with its hallmark purity of raga, accuracy and precision with laya, melody, and above all the ability to transcend her audiences to a divine plane.
Her own style can be described as aesthetic, imaginative, yet highly intellectual replete with lilting lyrical expressions, emotive appeal and fresh interpretation, qualities that set her in a class of her own. Her prowess lies not only in Khayal rendition, but also in 'Purab style' of Thumri, Dadra, Chaiti, Hori, Kajri, where she scintillates. Her well-received creations like ragas Anand Kalyan, Jogeshri and Shyam-Malhar stand testimony to her brilliance. In addition, she has composed and tuned several bandish-es, and has brought out albums which are tuned and sung by her, like 'Premanjali'- a compilation of Meera bhajans and 'Madhugat' - a selection of Marathi poetry.
A darling of the common listeners as well as connoiseurs, her recitals are an 'unforgettable experience' to many. Critics have lauded her as "her music reflects several notable features, full command over the notes, rhythms, gifted with a melodious voice and by diligent practice it has acquired a suppleness that can negotiate any difficult turn and twist" (Maharashtra Herald (1990), "A crowning performance of the entire Festival" The Hindu (New Delhi 1992). Here is one maestro who not only believes in putting her soul into music, but being a pure-soul too!
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