Music is an art which has the potentials to bring the world closer and together. The negative expressions like the terrorism, the separatism, the extremism etc can easily be curved through the music tenderness. But before going through all these aspects, let us first study the great Indian culture, which is a perfect example of 'the unity in diversity'.
India, the great civilization:
India, also known as Bharat, is a big country. Her Civilisation is 5000 years old. She has given birth to the world's most important religions. The Hinduism, the Jainism, the Buddhism, the Sikhism and many other religions with many philosophical interpretations have originated from this land of wisdom. She provided refuge to other leading religions. People of many races have come to India and settled here. She absorbed them all into her blood and fraternised them as her children. Unity and synthesis are the embodiments of Indian culture.
India is a vast country extending from the Himalayas in the North to Kanyakumari in the South. The Himalayas separate her from the rest of Asia. The Arabian Sea, the Bay of Bengal and the Indian Ocean make her a peninsula. We find endless diversity in the Indian Subcontinent from the physical point of view. There are wide differences in its climate, temperature, rainfall, soil, agriculture, flora and fauna etc., yet the fact that Indian economy has been primarily agricultural led to the development of common characteristics and common outlook. Today India is divided into 28 States and 6 Union Territories. Her population, according to 2001 census, stood at 1,027,015,247. The States of India are divided on the basis of the languages spoken by the people. India has been often described as a multicultural, multilingual, multireligious and multifaceted, pluralistic society. Her pre-history tells us about the Harappan people who lived in the Indus River areas prior to the coming of the Aryans. The Vedas speak about the Aryans and their spread in the Indo-Gangetic regions. The Sangam classics bear testimony to a well developed culture among the Tamils, even during the pre-Christian Era, in the extreme south of India. Apart from these early settlers, the Persians entered India in the North West. The Greeks, the Sakas, the Huns, and the Kushans followed them. The Arabs, the Turks, the Mongols and the Mughals came to India during the medieval times. These people belonged to many races. The Europeans, such as the Portuguese, the Dutch, the French and the English, came in the modern period. Excepting the Europeans, all others have been absorbed into the stream of Indian life. It is due to this fact that many consider India as an ethnological museum of many races. Indian society is a multi-racial nation.
India's fundamental unity rests upon her peculiar type of culture. There is no single character or aspect that can be defined as culture. Culture is a product of a corporate civil society. It is expressed through language, literature, religion, philosophy, customs, traditions, beliefs, art and architecture. Thus culture is a complex of many strands of varying importance and vitality. India has achieved cultural unity by fusion of many cultures. She has assimilated the good qualities from all cultures. She has arrived at a synthesis. Her adjustability, accommodation and spirit of tolerance enable Indian culture survive several vicissitudes. Various cultural groups live side by side in India. This has made Indian society a multicultural society.
As I have maintained throughout this discourse, Indian Subcontinent is a single entity as far as the culture and arts are concerned. If we could free our minds from the narrow political segmentations for a while, we all are able to feel this fact that the whole South Asian region bears the same traditions, adores the same culture, expresses the same emotions and feels the same sentiment of brotherhood and affection. In fact, before these political divisions, (India, Pakistan, Bangladesh, Nepal, Srilanka, Bhutan), there was only one entity – the India, which has been referred to as 'Saptsindhu', 'Aaryavrata', 'Panchnad' etc. All other political entities of the Indian Subcontinent have originated from the one great territory. In the books of the ancient history, these smaller political entities have no references. What I mean to say that the entities other than India have come into existence a very long time after India had been culturally evolved. Therefore, whatsoever may be the political considerations, whatsoever may be the modern segments of nationality, religion, and all other dividing factors, the fact is that all the region of south Asia as well as the South-East Asia, had been the part of India, one or the other time. When I say this, I do not wish to hurt anybody. I just wish to establish that in the whole of the Indian Subcontinent, more or less the same culture and civilization prevail.
Culture and arts May help in the reunion of the Subcontinent:
In a statement, in 2002, India's then Home Minister, L. K. Advani spoke of the possibility of the reunification of India and Pakistan. Far-fetched as that might appear at the present time, many Indian netizens reacted with gushing enthusiasm and dreamy excitement. The possibilities of greater sports contacts, cultural and scientific exchanges, expanded trade, reduced expenditures on the military, greater focus and attention on socio-economic development, optimal use of common resources, the possibilities of poverty elimination and more human equity, and above all a united front against the former colonial and imperial exploiters of the subcontinent - these seemed to be just some of the many tangible benefits that would accrue from a political unity of the partitioned nations of the Indian subcontinent.
For most Indians who have learned to sacrifice an element of their regional or sub-regional identities for the greater good, the benefits of unity are too obvious and too compelling to ignore. Today, an expanding network of transportation and communication links have brought Indian's many nationalities closer than ever before and the most enchanting display of this multi-cultural pluralistic unity is to be seen in the folk dance festivals that take place throughout the country on Republic Day. Colorful and varied costumes, folk songs in different languages and dialects, joyously mesmerizing dance sequences, faces tanned or lighter-skinned - all light up in a wonderful pageant of grace and exuberance. For a few blissful hours - all of the nation's tensions and divisions are forgotten - it is a day for the human spirit to be one - but without pressures towards an artificial sameness or needless conformity. Millions are thus brought together in solidarity and unity with the land of their birth, but it is in their very diversity that makes these occasions so memorable - because it reminds every Indian of how our real unity does not derive from dictatorial force, military edict, or cultural coercion. Our real unity comes from a respect of individual and group differences and an intuitive understanding of the practical benefits of political unity.
Republic Day is one of the occasions where we also remember the horror and torment that the colonial policy of 'Divide and Conquer' brought to us. And this consciousness, when present, obliterates all that could divide us or break us apart.
Yet, for some of it's neighbours, India presents itself as a "threatening monster" - as a grand "bully", as an "imperial superpower" and worse. But India is not a unitary nation - relatively speaking, it's press is one of the freest, it's political democracy is amongst the liveliest, and it's democratic institutions offer checks and balances that few nations in the world are able to exceed. This is not to say there aren't hierarchical divisions in Indian society (that ought to be fought and eliminated) - but objectively speaking - these are no worse than those that exist amongst India's neighbors. Poverty exacerbates social divisions in the subcontinent, but inequities are to be seen almost throughout the world. Even if on the surface, life in the former colonial powers seems more equal - it should not be forgotten that the wealth of these now rich nations came about through the loot of the wealth of the Indian subcontinent and other conquered nations.
Yet, anti-Indian propagandists are often very effective in demonizing India. For many well-meaning Indians, it is very puzzling to be confronted with the kind of hate and animosity that India-baiters bring their way, and are rarely able to come back with any suitable rejoinders. India's weakness in confronting it's attackers is thus often taken for being "guilty as charged". Clearly, part of this stems from colonial acculturation, and the propaganda of religious separatists, and ultra-nationalist forces who exaggerate India's flaws, but fail to acknowledge any of the tangible and concrete benefits that flow from greater political unity. But perhaps, a more significant aspect of this India-bashing is the desire on the part of certain vested interests to keep the people of the subcontinent querulous, and forever divided.
While the situation is clearly premature for India and it's neighbors to unite politically, there are many more possibilities for mutually beneficial social, economic and political coordination and integration than has occurred so far. Of course, the greatest hindrance to greater cooperation is the role of the clerical and military elite in Pakistan, that continues to harp on what pulls people apart, rather than what might bring them together. When it comes to India and Pakistan (or Bangladesh, for that matter) no barrier seems more intractable - or as insurmountable as the obstacle posed by an allegiance to a strongly sectarian religious identity.
This is particularly ironic when one considers that when India was first conquered by it's Islamic invaders, there was a deep distrust of religious orthodoxy of any kind. It is important to recall what Al-Beruni had written of the Hindus of pre-Islamic Punjab: "At the utmost they fight with words, but they will never stake their soul or body or their property on religious controversy."
Later, when Punjab came to be ruled by Islamic sovereigns, conversions to Islam did not take place all at once. But even when they did, it was Sufi-style Islam that enjoyed popular following - not Quranic orthodoxy. Any objective appraisal of India's Islamic cultural legacy will illustrate how much India's Islamic art and architecture borrowed and built upon earlier Hindu, Buddhist and Jain traditions. The decorative motifs in the Sufi shrines of Punjab - in Ucch, Multan, Dera Ghazi Khan, Dera Ismael Khan and many other towns draw from traditions that hark back to Taxila. Ahmedabad and Champaner's tombs and mosques use motifs indistinguishable from those seen in Hindu or Jain temples. Similiarly, monuments commissioned during the rule of the Bengal Sultanate either recycled (or imitated) elements from older Buddhist or Hindu Bhakti shrines. Throughout the later medieval period, Hindu and Muslim artisans borrowed and adapted from each other, producing artifacts of incredible finesse and beauty.
The best Sufi scholars did not hide the fact that they borrowed profusely from what they found attractive about older Indian traditions, and in the fields of art, poetry and music, contacts between Muslims and Hindus (or Jains, or Sikhs) could not have been more extensive, and in many instances, were mutually enriching.
Were the people of Pakistan and Bangladesh to be liberated from viewing the world through the prism of religious particularism, they might see there is much that bonds all of the people of the subcontinent. Our geographical closeness, our related cuisines, our similar dress codes, our historic connections, our syncretic culture, our common languages - all of this ought to bring us together - not tear us apart. After all, religion can only promise it's adherents liberation (or paradise) after death - the problems of this life - of our daily existence requires secular solutions. And from a secular perspective, nothing could be more beneficial than the greater unity of the people of the Indian subcontinent - on the basis of respect for pluralism, commitment to democracy, and above all, a deep concern for social fairness, justice and equity.
During the freedom struggle, one could find exemplary and inspiring examples of Hindu-Muslim-Sikh unity. India's greatest freedom fighters were all deeply secular, and were sharply critical of all that ailed our colonized societies. The need for such unity is no less urgent today. But in political terms, there are few who can adequately articulate or champion the need for a broad federation of all the people of the subcontinent. Yet, there are some arenas where outstanding examples of secular collaboration can still be found. The people of Pakistan and India are both children of a very rich and illustrious cultural heritage - and in the field of Classical Music, the close cooperation amongst Hindus and Muslims stands out.
Consider how Sulochana Brahaspati of Allahabad, an eminent exponent of the Rampur Gharana got her initial training in classical singing from Pandit Bholanath Bhatta, and later became a pupil of Ustad Mushtaq Hussein Khan. Considered a leading light of the Sahaswan/Rampur gharana. In recordings, she has been accompanied by Ustad Sabri Khan (of Moradabad) on sarangi, and the late Ustad Dayam Ali Qadri (of the Farrukhabad/Moradabad gharana) on tabla. Sarod virtuoso of the Maihar Gharana, Partho Sarathy of Kolkata comes from a family of khayal musicians, and first learnt Sarod from his father, and then continued his musical education (in the guru-shishya parampara) with Ustad Dhyanesh Khan, the late son of Ustad Ali Akbar Khan. Noted singer, Padmavati Shaligram studied classic singing with her father and her uncle, an old student of Ustad Alladiya Khan, the founder of the Jaipur-Atrauli gharana. Ustad Shujaat Khan, son of the illustrious Ustad Vilayat Khan,(and a very fine sitarist in his own right), has recorded with Sandeep Das on tabla. Sitarists and music professors, the eloquent Ustad Hameed Khan and Ustad Chhote Rahimat Khan have been accompanied by Pandit Ragunath Nakod (considered one of the greatest tabla players of the Lucknow gharana). Amongst the Dhrupad Gharanas, there has been particularly close and intimate contact amongst musicians of Hindu and Muslim backgrounds. Uday Bhawalkar who started his musical education at Ujjain, received the Allauddin Khan Sangeet Academi grant and became a student of Fariduddin Dagar in Bhopal. Dr Ritwik Sanyal of Katihar (Bihar), began his music lessons with his mother, a student of Ustad Zia Mohiuddin Dagar and Ustad Fariduddin Dagar, who in turn were often accompanied by Pandit Shrikant Mishra of Benares.
What is most notable is how the tradition of Dhrupad - an especially evocative and expressive genre of Indian Classical Music (whose lineage is traced back to the era of the Sam Veda by some scholars) has been preserved by Hindu and Muslim Maestros alike. This is just one exquisite example of the continuity of tradition, and the unity of India's composite culture that transcends all barriers. But there is no reason why such cooperation - why the love for a great heritage and tradition must remain confined to any particular field, or only to some Hindus and Muslims in India. The possibilities of greater collaboration amongst Indians and Pakistanis, (or Indians and Bangladeshis, or Nepalese, or South Asians in general) are many.
Yet, there are also serious obstacles. Wishful thinking, or idealistic propaganda about such a future will not take us closer to that goal. People will not only have to articulate the possibilities, but also actively struggle to realize them. The myriad difficulties and hurdles in the path of greater closeness will have to be dealt with frankly and honestly. In India, that will require educating those who are naively romantic about friendship with Pakistan (or Bangladesh), as well as those who have written off all Pakistanis, and see no distinctions between the rulers of Pakistan, and those who must suffer their writ. Hindutvadis who fail to distinguish between the vast majority of peace-loving Muslim Indians and a small group of fundamentalist terrorists, and constantly engage in unnecessary Muslim-baiting must also be isolated so that secular Pakistanis are assured that unity with India will not lead to any repression of Muslims by Hindus.
In Pakistan, moves towards peace and reconciliation with India may involve very difficult emotional and ideological choices. It will require tremendous courage, grit and foresight. And above all, it will require patience and perseverance in combating those who have so far been very successful in instigating divisions on the basis of religion. There will always be vested interests in society (and manipulative super-powers) whose wealth and influence derives from ensuring that the working masses of Pakistan remain prisoners of sectarian prejudice. To counter them will not be easy, but neither will there be much progress if such dangerous and divisive forces are not challenged.
It is up to the wise and enlightened in Pakistani (or Bangladeshi) society to ensure that the common people are able to let into their hearts, the tender murmurings of inspired melody-makers. And remake their nations in a brand new mould - where the dominant theme can be social progress and social equity instead of unquestioning (or chauvinist) adherence to any religion based on revealed truth.
Relatively speaking, prior to colonization, the Indian subcontinent was neither poor nor backward. It was a land where people had made numerous scientific and philosophical discoveries. It's arts and crafts had an élan and spirit that was hard to match, it's music - a lyric beauty, it's pluralistic traditions had color and spice. Pre-colonial India attracted respect, even reverence abroad. But today, the subcontinent is all-too-frequently dismissed with ill-concealed contempt or indifference.
Were the people of the subcontinent to break off their mental shackles - to liberate themselves from the psychological scars of colonization and conquest, they would find much that is inspiring and enlightening in the subcontinent's heritage. They would realize that rather than be exploited and used as pawns by others, they could make something of their own future. And amongst India's neighbors, there might come the realization that cooperation, rather than hostility towards India made more sense.
That could lead to a new dawn in the Indian subcontinent.
Alternatively, we may all have to put up with more strife and conflict. And many may needlessly suffer the unwanted consequences. Can the past be transcended? Can the people of the subcontinent reshape their destiny? Only time will tell. But the collective will led by wise counsel can surely influence the outcome.
However, in this thesis, it would be off-topic, if we discuss the political unity of the subcontinent. Our main purpose is to highlight the fact that the common people of the Indian Subcontinent are peace-loving. They respect the individual sentiments of all human beings. They love arts and the culture. They can be brought closer through more art and cultural exchange programmes. These programmes are organised by different national as well as the international bodies. Some of them can be mentioned for example, as under: 'South Asian Association for the regional cooperation, (SAARC)','Indian Council for cultural relations, (ICCR)', 'United Nations educational scientific cultural Organization, (UNESCO)' etc. Through these organizations and through the cooperation of many more associations as well as the individuals, we see many musicians come to perform here in India from the other parts of the Subcontinent and performing artists from India go to participate in various music concerts in the different parts of the Subcontinent.
During my deliberations over the 'music therapy', it has been established that music has a great impact over our brains. It cools down the chemical processes which keep on occurring in the human brain. It releases the tension and makes us feel relaxed and comfortable. Many artists have a feeling that music can inculcate the moral values upon the listeners as well as the performers alike. Music gives pleasure i.e. 'Paramananda' which is said to be the closest to the God. It makes our hearts free of anger and ill will. It liberates us from the narrow segmentations of our surroundings as well as our minds. It can be used as a tool to impart the moral values on the adolescents and the youth of the world. Our educationists have recognized this potential of music. That is why; they have included it in the school as well as the college/university curriculum.
This property of music can be of great use in our endeavour to evolving the world brotherhood and international unity. In the recent years, our educationists have understood and emphasized upon the imparting of 'the life-skills' on the students along with the following of normal format of curriculum. For this, the Ministry of Education, Government of Delhi has held several seminars and symposia in order to involve the teachers employed by the Delhi Government in this programme of educating the life-skills. The teachers have also been given access to Yoga-therapy, music therapy and they have been asked to visit 'Bramhakumari Ashram and get some ethical counselling there.However, in my opinion, if music is used as a tool to develop the moral values, it can easily and successfully do the job. Music is a kind of softener of negative feelings. It is used as a relaxant when we are under the stress. All those, who are involve the teaching and learning of music, would have experienced this. When we are under the stress and there is no available alternative, if we forget everything and listen to our favourite Album of music, and/or we play on our musical instruments or sing the composition that we like most, our stress is gone. Thus, we can recognize the potentials of music and use it as a developer of the human values.
5.4.4 National unity as well as international brotherhood through music:
We have seen that music can be used as a tool to develop the moral values. If we succeed in transforming all the human beings into the ethically sound persons, most of the problems in the society, which hinder the unity of people [at the national as well as the international level] will diminish. Music works as a relaxant and also as an antidepressant on our minds. It brings together the men and woman, without respects of caste or worth, without the respect of the strong and the weak, without respect of the rich and the poor, without respect of the religion and the nationality. In a music concert, the artists of different religions, faiths, nationalities, social strata etc can be seen together working in unison for the success of the concert. Music has no boundaries. Neither does have any specific language. That is why; we say that music has a universal language. It has a universal appeal. In our classical music, words of a musical composition have very little significance or rather no significance. In the instrumental music, there are no words at all. Thus, the instrumental music has no language barrier at all. This feature of music has been recognized by the United Nations' Organization too. Many musical bands have been continuously working for the cause of the international brotherhood. Some of them are referred to in this chapter for example:
The Austrian band 'World Beat Experience'
Whoever said that music transcends boundaries was definitely on the right track. The Austrian band 'World Beat Experience' has been uniting people through its music for the last ten years. This Austrian band plays a mix of Eastern and Western music to underline its credo of uniting the world through music. Taalis, Wolfgang Sambs and Helmut Schoenleitner have been performing in Europe, India and Thailand an assimilation of different genres of music. Calling it world music that will appeal to the people irrespective of their language or culture, the band presents a splendid blend of melodies. Elaborating on their music Schoenleitner says, "We want to arouse the universal conscience by music. Every time we perform we attempt to spread our knowledge and wisdom trying to bring people closer."
The band has been visiting India since the last six years. Having performed in various places across Maharashtra including Nagpur and Nasik the members are quite familiar with both Marathi and Hindi. Talking about the audience Sambs says, "People here are very alert about the latest trends. They appreciate and sway to our music and it feels great. Also things are quite liberal here, unlike Europe where you aren't allowed to move or mingle until the concert is over."
Quite interestingly the band members have been learning Indian classical music from none other than Pundit Suresh Talwalkar for the last eight years. "We were in Pune for Guru Purnima this time and we celebrated it in the traditional way offering prayers to our guru, Pundit Talwalkar. He has been a great motivator. We have learnt laya and tala from him during his lessons in Austria," adds Taalis.
While Schoenleitner is the director of Jazz Institute in Austria, Sambs and Taalis have been his students before they became partners. Talking about their talent Schoenleitner says, "This is the new generation, full of creativity and passion for the art. They are the best Austria can offer at the moment."
The band performed at Shisha Cafe on Thursday and the audience swirled mesmerized to jazz beats. With Taalis on drums, Sambs on Guitar and Schoenleitner on Bass guitar, the evening saw an exchange of music and acclaim. "We come to India once in a year and most of the times to Pune. The city is nice and the response here is very exciting. We generally present a mix of Indian and African flavour of funk and jazz. It is this blend of eastern and western music through which we attempt to unite people from all over the world," sums up Taalis.
Come February 1 and Kolkata will get to witness a musical experience like never before. The king of modern Indian music - Allah Rakha Rahman - is all set to present his first ever live concert in India. And no prizes for guessing where the maestro wants to flag off the concert - it's our very own city of joy. "It's very exciting for me to start the concert here as this city has a lot of associations with music. Also, this city is very new to me. This is my first trip here," said Rahman, while announcing the concert at the ITC Sonar Bangla on Thursday. The concert, titled the Unity of Light, will be held at the Salt Lake Stadium. After Kolkata, it will tour various Indian cities and will also travel to the US, Canada, the Gulf countries and the Far East. Speaking about the theme of the concert, Rahman said, "A lot of things have happened in the last couple of years which have changed the world in many ways. I want to express the sublime knowledge through my music." Most of the music will be based on his film soundtracks right from 1992. "I will present the tracks with alternate arrangements for the music. So they will sound totally different. There will also be tracks from Bombay Dreams, my other albums and some Bengali songs." The concert will feature other bigwigs like S.P. Balasubramanium, Sonu Nigam, Udit Narayan, Hariharan, Shankar Mahadevan, Sukhwinder Singh, Sadhna Sargam, Vasundhara Das and Mahalaxmi Iyer. But one man who will be conspicuously absent from the Kolkata show is Rahman's preferred percussionist, Shivamani. "He will accompany me for the rest of the tour.
The music gallery in the premises of the Punjab Kala Bhavan
The online Edition of The times of India
CHANDIGARH: (March 14, 2003)
Punjab has a cultural history of instruments and rhythms so rare and dynamic that their sounds stir the soul. The State's musical tradition that may have slipped into obscurity over the centuries has been revived at a special museum in Chandigarh housing rare folk instruments of Punjab and momentos of some legendary stalwarts in the field. It's a coming together of the finest that the Punjabi folk music tradition has boasted of over the centuries. The legends and the instruments that made them so unforgettable for generations. Sardar Amar Singh Shaunki, master of the Dhadd instrument which dates back to the Sikh gurus, becoming an intricate part of Punjab's folk fabric. The Nightingale of Punjab, Surinder Kaur, for most of the 20th century enthralled audiences - army jawans, civilians and connoisseurs alike. And the gaiety of the tumbi of Yamala Jat is another of the rich memories. Rajinder Singh, one of the curators of this museum and an expert of Punjab's folk tradition, says, "Punjab has for centuries been a cultural gateway to India. Hundreds of cultures have visited this region. And because many of the invaders came only this far, Punjab became a melting pot of many cultures, customs and arts. That's why one can find here touches of the traditions of all parts of India and the world. Many features which were lost have also been preserved here."
The music gallery in the premises of the Punjab Kala Bhavan in Chandigarh is an ambitious project of the Punjab Sangeet Natak Academy begun last month. The idea is to re-acquaint with some rare, partly forgotten folk artifacts - the sarangi, algoza, bagtu, dauroo, and a favourite - the snake charmer's flute.
MUMBAI: (March 10, 2003)
If music be the food of love play on, said Shakespeare, and it was a colourful evening at the magnificent Gateway of India where music was the staple diet. It was a night to remember, as the mighty monument stood brightly lit in the tri-colour and some of the best musicians performed for a great cause. Darkness set the scene when suddenly a burst of light and sound emerged at the centre of a stage 120 feet long, 65 feet high. Cameras panned, dollied and trollied as singer Mrigya presented fusion music with qawwali and sufiana kalam.
"Sounds of the sea" concert was in aid of "Save the Children" and "Action Aid India Society". The concert was a collage of music styles from different parts of India and the world. The occasion was special for the performers. It marked the launch of Mumbai for a change with Save the Children India and a coalition of other NGOs, for creating shelters for homeless people and night schools and education opportunities for street children in Mumbai. Talking about the initiative, Jerry who is the event organiser said, "We looked at groups which have some kind of social responsibility, groups which do performance on human rights and things like that - that's how we got a way out and Gautam Ghosh, Mrigya who won the tap water award for peace and communal harmony, so we have taken the groups which have social responsibility".
The artistes were all well-known that included Sivamani, Niladari (percussionist-sitar), Bobby Cash (Country Music Solo Act), Mrigya (Fusion with Qawwali and Sufi), Indian Iranzit with Gautam Ghosh (World Music and African Tribal Music) and Silk Route (India's favourite Pop Rock Band). The lights captured the mood of the moment, and the sound was the envoy of them. Drummer Shivamani produced just the right rhythm with every instrument which came to hand.
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