The Celestial Messaging!

It is a fact of life that we keep on getting celestial or divine messages from the invisible world—particularly during times when catastrophes/tragedies happening in or about to befall our family or locality or country and we might as well call these as intuition or premonition or telepathy or presentiment or the like. Most of the times we fail to decipher these in time; sometimes we understand but fail to act upon it and some other time we comprehend enough to prepare well for it. From at least three months prior to my father’s demise I had been having a very disturbing time—wanting desperately to go to him, be by his side; dreaming about him and at times having a hallucination of seeing him around. However, living quite far away from home, I failed to act upon it due to various external factors including a persistent financial strain. As was inevitable, he passed away one early morning and I could reach home only on the sixth day travelling for three days on an ordinary train as booking a flight those days was almost unthinkable. I joined my family, totally broke, depressed and inconsolable.

The first night we slept in my father’s bedroom. Early morning I woke up; there was an incessant chirping of a few house sparrows just outside the window. And I got a flash: my father was content and in peaceful rest, and that I should also feel happy, not to depress the atmosphere further. It came instantly before I had any chance of interpreting the chirping, and it did have a soothing impact on my mental health for the rest of the period.

(You can find a very similar territory in my thriller The Astral Limbo! No harm if you'd like to take a look!)

There was also a very painful prelude to the demise of my father-in-law: he had not been well for some time, but since he didn’t confide in anybody about his condition and we failed to take it seriously enough his condition worsened, and finally when we decided upon the journey he was literally on his death bed. For our peace of mind my wife and I decided to shift him to the nearest city for intensive treatment; we were desperate to do something for him, however futile or too late it were. Those 2/3 nights we spent in my in-laws’ house were terrifyingly disturbing for me. Every night I felt: the spirits of all his ancestors descending on me, not allowing me to fall asleep. I interpreted it thus: the ancestors came down and wanted to take possession of his soul in peace, because the end was inevitable and they did not want him to suffer more at the hospital beds and labs; they seemed to be angry at our efforts to linger it further. However, my father-in-law, kind soul as his was, understood his daughter’s feelings and allowed us to transport him for one last attempt to save him.

And, as it happened, he came back home again after almost a tortuous month to pass away in peace a few days later. Meanwhile, I had to go to my workplace for an emergency, and returned as soon as my wife gave me the sad news of his passing away. During the next few days of rituals leading to the aadya shraddha on the 11^th day I had a few supernatural experiences which, in final analysis, were only a communication or messaging from his soul.

Once around noontime, when I was alone in the room normally allotted to me on our visits, somehow I had an urge of sitting on the old wooden chair with arm-rests preserved there which was the favorite chair of my wife’s grandfather. As I moved towards it something inexplicable happened: the chair seemed to have jerked sideways which froze me on my track. I deciphered it thus: it was due to the profound respect the grandfather was given in that household, and that my father-in-law who lost his father very early in life wanted me to adhere to it.

One night as we were sleeping I woke up suddenly to a peculiar sound. It was a sound of laboured breathing that seemed to emanate from within the bed. It was so loud and clear that the bed almost shivered and shuddered. I put my ears near to my soundly-sleeping wife—no, it wasn’t coming from her. I examined the bed all around, but failed to identify the source of the sound. My efforts woke my wife up. I told her about it, she advised me not to think much about it. So we went back to sleep.

Very late in the night another time I woke up without understanding why. There was a pin-drop silence and it was pitch dark in the room—the period being a waxing moon fortnight. Suddenly I beheld a patch or a circle of bright white light floating at the ceiling, then moving all around us. It continued its movement for more than a minute, as if watching us, surveying us. My mind immediately started exploring the possible source for an infiltrating light. There was no chance. The curtained two windows on one side of the longish room were completely sealed in by the tin-roofed pandal constructed in the courtyard for the shraddhaceremony; heavy curtains were also fully drawn across the two windows on the other side and from that walled-in side there was no possibility of any light; the lone street light in the driveway had not been working for a few days. I confirmed every facet the next morning and found no justification for an infiltrating light.

There could have been only one messaging in those occurrences: that the spirit of my father-in-law wanted to assure us again and again that he was with us all the time and would be watching over us for some time. It is also interesting to note that my wife never expressed surprise or shock at my accounts, because, as I came to know later, she was also having similar communications those days.

 

Hark! Such messages keep on coming and are all around you! You only need to respect those and try to decipher to your own benefit. If you deem it to be superstition you’re most welcome to ignore this piece, apart from the messages! 

India Vs Australia T20I Cricket: India Now Looking More Like the Team It Had Been!

Although the ‘experiment’ scare is far from over Team India is now looking more like the one it had been in the national sense as regards the international tournaments. Doing justice to the expectations of a decider the third and last T20I match in Hyderabad last night went down the wire keeping the thrill on till the penultimate ball of the match. It was a high-scoring match in a pitch that helped both the batsmen and the bowlers. Australia put up an imposing target of 187 runs for India after Rohit Sharma won the toss for the second time. And India skillfully handled the early losses of both their openers with Virat Kohli (63) and Suryakumar Yadav (69) having a rollicking partnership of 104 runs thus nearing the target with enough wickets left. However, the ride was still not without thorns as the Aussie fast bowlers started delivering beauties and scoring boundaries was difficult. With the demolition-man Suryakumar gone Kohli and Pandya got into some kind of a spot—India needing 32 in 3, then 21 in 2 and finally 11 in the last over. Before getting out in the second ball Kohli did an immense service by hitting the first ball of the last over by Sams for a six and the target got tantalizingly reduced to just 5 in 4 balls. Dinesh Karthik came in and scored a single off the third ball. Pandya failed to connect a outside-off wide fourth ball and with the wide not given the equation got a little tough with 4 runs in 2 balls. Luckily, Pandya managed to nick another wide ball and the lone slip fielder missed it. It went to a four in the third man area and India won the match by 6 wickets and the Mastercard T20I Series against Australia 2-1, thus providing the much-needed impetus for the team to go to Australia next month for the World Cup.

 

The defending World T20 Champions Australia would’ve much liked it to go home with a series victory to prepare well for the tournament in their own turfs. Apart from the match being a very close one that could’ve gone in either direction there were huge positives for Australia though: it fought all-out to win the first match and could’ve won the next two also; their pace and spin bowlers coming good most of the times to put the hosts under pressure; their batting depth remaining perfect as ever to help the team come out of any adversity; and the revelation that Cameron Green as an opener proved for the team and the management. This exciting new-age power-cricketer has become a tremendous prospect for Australia in the coming World Cup and his sparkling performance has put up question marks for the retention of quite a few stalwarts including even the legendary Steve Smith in the playing T20 eleven in the World Cup. Refreshingly enough, Green has debuted successfully in all the three formats during the last two years only. In this match he notched up his second half century (52 in just 21) and also bowled beautifully and economically.

 

The last five-over woes continue to rattle India though with their bowlers conceding too many runs in those death overs consistently in the last few internationals. Of course, the main strike bowler Jasprit Bumrah has come back to the team, but it’d be unrealistic to expect him to strike immediately after almost rusting for weeks. More hopefully, now in the company of Bumrah the other class pacer Bhuvneshwar Kumar is set to pick up soon. For the second time, spinner Axar Patel stole the show by capturing three vital wickets apart being part of the crucial runout of Glen Maxwell. This time he was joined effectively by Yuzvendra Chahal who removed Steve Smith early. Their efforts reduced Australia to a precarious 117/6 in 14^th over when Tim David came to the rescue with a brilliant innings of 54 in 27 balls. Daniel Sams did a cameo of 28 in 20 balls to aid David and the team. Next, India meets South Africa at home too in the last three-match T20I Series before the start of the World Cup. Pandya is supposed to be rested for that Series; we pray against more experiments and the only exception should be Rishabh Pant who was dropped for the third match.

(Photos from bcci.tv)

Amidst the Rohit Blitz Karthik Had His Moments as India Level T20I Series Against Australia!

Chasing a tall target of 91 runs to win in 8 overs (the second T20I between India and Australia was reduced to 8-overs a side due to rain affected pitch and outfield) captain Rohit played out of his skin remaining not out at 46 off just 20 balls to steer India to a win by 6 wickets against Australia before a packed house in Nagpur. He kept his cool and hit some terrific shots all around the park as he has been known for despite the failures of KL Rahul, Virat Kohli, Suryakumar Yadav and Hardik Pandya. For a change, we’ve used ‘India’ instead of ‘Rohit Franchise’ because the team finally looked like a national team with main strike bowler Jasprit Bumrah coming back and batsman-keeper Dinesh Karthik retained notwithstanding what happened in the first match. This is not at all due to India’s win. Of course, one of the main weapons for a national side Bhuvneshwar Kumar was dropped or rested as he’s been giving away crucial runs in his second spell in the last few matches. However, the fact that the IPL rookie fast bowlers have been consistently given the privilege of bowling the last over could’ve affected his confidence and form. Even with Bumrah around the last over in this match was also handed over to Harshal Patel and that over cost a lot of runs.

 

Earlier, during the extended pre-match panel discussion Sunil Gavaskar had welcomed the inclusion of Bumrah for the do or die match and made a far more important observation that with Bumrah or Shami bowling from the other end Bhuvneshwar just gets transformed bowling to a tight length and getting the rewards too. Gavaskar also welcomed the move to retain Dinesh Karthik saying that Karthik has always been a finisher and a team would love to have him coming in at a crucial juncture. His comment simply means that a ‘finisher’ must be utilized before the match gets actually finished.

 

In the match played last night, 23^rd September 2022, we justifiably had a nightmarish thought about having to watch Axar Patel coming in when a struggling Pandya fell in the fifth ball of the penultimate over and India still needed 14 runs in 7 balls. But to our heartfelt relief we beheld Karthik coming in occupying the non-striker’s end as Rohit did cross over during the Pandya catch. As a cruel blow to the Aussies who again saw themselves back in the match the sixth ball was a wide coming from an experienced Pat Cummins and the next ball was hit for a four by Rohit; the final equation being reduced now to 9 runs in the last over. Karthik was facing the last over.

 

He hit the first ball of the last over by Daniel Sams for a huge six and then the next ball for a resounding four. And the match was over as Rohit rushed to embrace Karthik. The ‘finisher’ sent ahead of Rishabh Pant and Axar Patel at long last seized the opportunity to prove his mettle and helped his team romp home to 92/4 with 4 balls to spare. Well, giving your key players the trust and confidence almost always works. Now what happens next is eagerly awaited as both the teams clash for the decider in Hyderabad tomorrow; the ‘experiment scare’ just refuses to leave us alone.

 

Put in to bat Australia had captain Finch blasting away in a determined frame of mind to seal the Series. But Rohit just then produced a masterstroke handing over the ball to Axar Patel in the very second over with, mind you, Bumrah around. Axar first affected a Kohli-fueled brilliant runout of the first-match destroyer Cameron Green and then clean bowled the dangerous Glen Maxwell for a first-ball duck in the last ball of the same over. Probably as there were only 8 overs to be bowled in all he was not taken off and was given the fourth over too, and in that over Axar clean bowled Tim David. He effectively prevented Australia from running away with a 100+ total in spite of the late charge by Matthew Wade (43 not out in 20 balls). Adam Zampa did more than an Axar capturing the top three Indian wickets, but could not force a win thanks to Rohit and that each bowler could bowl only two overs each. Josh Hazelwood was the most expensive Aussie bowler giving away 20 runs in 2 overs.

Web Series ‘Hush Hush’: A Promising Plot Peters Out to a Morbid Melodrama!

The Web Series Hush Hush Season 1 started streaming on Prime Video from the 22^nd of September 2022. It has at least three very important reasons for being watched eagerly by a lot of viewers. First, filmmaker Tanuja Chandra whose intense flick Dushman (1998) is still remembered by movie fans features as one of the directors and producers in a clearly women-oriented story with mostly women in the crew too. Second, the cast is tremendously interesting and exciting with two of the most beloved babes of Bollywood since the eighties Juhi Chawla and Ayesha Jhulka coming back/appearing on the OTT Platform for the first time, and joined by the immensely talented Soha Ali Khan, Shahana Goswami, Kritika Kamra and Karishma Tanna. Third, the story begins on a very taut and promising note, seemingly doing justice for a mature series in the Suspense genre. But unfortunately, that lasts only till the third episode, and then, rather inexplicably, the storytelling breaks up and meanders to a morbid melodrama with all the focus on domestic affairs while we ardently expected it to roar to a shattering climax.

The story basically consists of four close friends—Juhi as Ishi, Soha as Saiba, Shahana as Zaira and Kritika as Dolly. While Saiba has an established family with husband and two kids Dolly is into a three-year-old unhappy marriage and the other two are supposed spinsters with Shahana having suffered a breakup previously. The story opens in Kolkata in 1978 establishing Ishi as an orphan having a close sister-like ties with the younger Meera (played by Ayesha in the older role) who is among others in the same orphanage. Then, the story cuts to 2019 in extremely posh environs in Gurgaon or Gurugram in Haryana showing Ishi as a high-end mover & shaker, the role almost inspired by the controversial real-life Niira Radia, and a huge scandal just breaking out in the media involving Ishi. Meera reappears much later in the plot. As per the time-period Ishi should be in her late forties, Saiba and Shahana possibly in early forties with only Dolly most probably in the late twenties.

 

The overwhelmingly female-cast is joined by Karishma as the tough cop Geeta who starts her investigation in a very promising note too as the four friends land up in a shady mess with Ishi dying a violent death the same night when the anniversary party of Dolly’s parents-in-law was going on. The plot moves intriguingly till the third episode and then, as we mentioned earlier, it falls flat. Instead of going into the detailed storyline that could possibly lead to spoilers we’ll just point out the main disappointments that mar the suspense elements that could have been built up in a telling manner.

 

·       The biggest disappointment is with Juhi Chawla’s comeback to the OTT. She dies in the very first episode and then appears only momentarily in various flashbacks or revelations. She apparently has no solid stuff to prove her towering performance-related abilities, because the makers do not allow her or us to know how she moved up in her career as the most upmarket influencer Ishi and what had been the pros and cons in her success ride. The only point of reference as regards flashback is the consistent ‘five years ago’ which does not help anyone—performing or viewing.

·       The ‘five years ago’ reference also applies to Ishi’s extremely close three friends and we hardly know anything about how their friendship started and grew and bloomed over time. Matters are not helped at all by the age-differences that we pointed out going by the time-period revealed in the story between the four fast friends.

·       Karishma Tanna as the tough cop Geeta hardly does anything that proves her ‘toughness’ and never tries to go deeper into the shady affairs of a violent death, a missing person and the three clearly nervous friends. No doubt, she must’ve been hampered in her investigations by her obstinately unreasonable, unnecessarily foul-mouthed and apparently ignoramus lady boss ACP Madhu played by Vibha Chhibber. While we kept on expecting Geeta to excel as an honest and bold cop she gets more and more into a frame of mind to let go of the three ‘implicated’ friends, perhaps a tad more ardently than the writers-directors who’d really want to protect them for future use, and in the supposedly climaxing seventh episode we get treated only with Geeta’s lesbian leanings.

·       Of course, being an out and out women-oriented story, the male characters have to be sketchy at best. However, it does create more roadblocks for the storytelling, because the seemingly important husbands of Saiba and Dolly and the photographer-friend of Shahana have been rendered clueless about what to do and how effectively to contribute toward the story.

·       The reappearance of Meera in later episodes only adds to the melodrama rather than building up the tension. Anyhow, Ayesha Jhulka is able to do some justice to the insufficient role give to her.

·       Finally, the makers of the web series Hush Hush should essentially have done much more to present a mature suspense series than indulging in endless hugging cum teary-emotional outbursts cum domestic-affair scenes of the most upmarket kind between the three friends in the glaringly disappointing last four episodes of the Series.

 

Hush Hush fails to live up to the suspense genre primarily because of not being able to give enough meat to the star performers and of trying to cover the whole matrix of the degenerating system of powerplay, corruption, criminality and human trafficking clearly prevailing in the society, as per the story of course. Perhaps, this is being done to have more Seasons in the coming months. This suspicion gets more emboldened by the ominous dialogues between the main villain (gets revealed much before the supposed climax) and the main associate in the last minutes leading to two more murders which are promptly taken up by the CBI as indicated earlier by Geeta’s abusive cop boss instead of the investigating police team. Well, we definitely expect more maturity and magic touches from Tanuja Chandra in the coming seasons, if indeed.

Is The Dinesh Karthik Riddle Over Now?

Continuing with the Asia Cup-2022 legacy and the experiment-legacy since time IPL the swashbuckling Team India management, the dead- ‘wall’ coach and the devastatingly discerning selectors had once again preferred batsman-keeper Dinesh Karthik ahead of Rishabh Pant in the playing eleven pitted against the T20 World Champions Australia in the first of the three T20Is in Mohali on 20^th September, 2022. Keeping up with the ‘traditions’ Karthik came in to bat after the supposed all-rounder Axar Patel and was still lucky enough to have four overs to play out. Unfortunately, he could not capitalize on this golden opportunity and perished cheaply. Not only that, he failed miserably to read a suspected LBW ball to convince his captain Rohit Sharma to go for a DRS. As the replays showed the ball hitting the leg stump clearly Rohit vented out all his pent-up anger on the poor but experienced Karthik. Rohit’s magnanimously displayed public anger could perhaps also be the result of the ceaseless accumulation of the same thanks to the ‘stakeholders’ described at the outset.

 

During Asia Cup-2022 that the hosts Sri Lanka won magnificently roaring back into tremendous form the stakeholders included both Karthik and Pant in the second league match and then decided to forget about the former in the crunch matches. This time, however, things could be much firmer and more decisive. As we already said Dinesh Karthik had scored an all-round failure-laden outing in the match, he seemingly gave sound enough reasons to the constantly-experimenting-scheming stakeholders to rule Karthik out on a permanent basis thus justifying the esteemed management’s outstandingly long-lasting ‘kindness and understanding’ to ‘experience’ while basking in the spirit of experimentation; this ‘experience’ also has an unmistakable Dhoni ring that surfaced during the times of the devastating (for India) ICC Men’ World Cup-2019. We need not worry at all as far as the riddle called Dinesh Karthik is concerned because it is set to be crystal clear in the second T20I against Australia tomorrow.

 

The dead- ‘wall’ coach has vindicated his age-old preferences very ominously now: Yuzvendra Chahal is to be played in every possible eleven irrespective of how he bowls and to be denied rest at any cost; Hardik Pandya (he displayed tremendous batting in the first T20I against Australia) is now a confirmed batting all-rounder along with Ravindra Jadeja whose injury could well be the ultimate cause of Rohit Franchise’s possible downfall (God forbid!) in the coming T20 World Cup; Jasprit Bumrah is to be kept on indefinite rest till he is ‘exclusively fit’ for the World Cup; the batting order has to be an ever-alterable variable, never a constant; encouraging the captain to insist on bowling the same bowlers (mostly five in number) irrespective of how they bowl till their quotas are fulfilled and to immediately take a bowler who captures a wicket in his first over off the attack; and contradictory contempt for youngsters cum veterans like Ravi Bishnoi or Deepak Chahar or Ravichandran Ashwin while welcoming the other, mostly youngsters, players as the future of Indian-Cricket (read IPL).

 

The unpredictability of the dead-‘wall’ coach is also as glorious as of the game itself. One of the consistently striking bowlers in all formats, Mohammad Shami, was benevolently considered meritorious enough to be included as one of the reserves for the T20 World Cup; but unfortunately, he caught the COVID virus perhaps due to the wantonly liberal ‘rest’ he was conferred with by the omniscient stakeholders. But horror of horrors of unpredictability! Umesh Yadav who was nowhere to be seen in the playing arena for quite some time was not only included in the revised reserves but was also played in the first T20I against Australia.     

 

That the Rohit Franchise lost against Australia despite putting up a formidable total in excess of 200 runs had been a forgone conclusion. Call it the result of the ‘price’ to be paid for the ‘essential’ process of experimentation so mind-blowingly required to finalize the playing eleven in the World Cup or the reign of the glorious uncertainly or the dead-walled team management or whatever. The call is yours as you must bear with the future of Indian Cricket (read IPL). As a vital reminder you have to take notice of the only experiment that Australia made while chasing—asking their rank-new bowling all-rounder Cameron Green to open with captain Finch and the former breathtakingly took the match away from the dazed Indians. Having said all these rather dubious things the final outcome of the T20 World Cup starting in Australia from 16^th October 2022 could still change everything for Indian Cricket (don’t read IPL) for the better, hopefully.

The System!

The calls never stop. They’re ruthlessly regular as always even if you’re going through a huge personal crisis or that you’ve been rendered ineligible for most of the offers in circulation due to various reasons. And I don’t blame the ‘casuals’ desperately trying to augment their measly income with the commissions cum incentives that they hope to earn by getting the customer’s consent for a personal loan or a deposit/investment scheme or a pre-approved credit card. In fact, I always have sympathy and understanding for them; that I get angry most of the times is a part and parcel of the hazardous virtual games being played in abundance nowadays. This time, for a change, it was a male voice that addressed me in all possible politeness. But he sounded weary and lazy, perhaps frustrated by the endless calls from his end since morning without any tangible progress.

“Sir, I’m calling from the xyz finance company. If you can spare a moment, please!”

For a change, again, I decided not to be angry this time, enjoying the fact that as the caller was a male, I could very well blurt out my anger the moment it’s required. So, I answered politely too.

“Okay, yeah?”

“Sir, our company is offering you a pre-approved super credit card without any charges or fees of any kind! If you allow me…”

“Do you know my age?”

“Um…uh…I don’t know sir!”

“How did you pick me out then for your most special offer?”

“Well sir! You name has been running in the system…so…”

“The system? Yeah, that’s the crux of the problem. Anyway, have you meanwhile changed your marketing strategy by deciding to start issuing the credit cards to senior citizens too?”

“Um…no! I’m very sorry sir!” and he hung up, for a change, once again. Normally I do that reprehensible job in what I always think righteous anger, at times right in the middle of the conversation.

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The System! Yes! The ever-growing mechanism of modern marketing that never spares any nook and corner in any possible territory of the targets from its ravenous attention. As I mentioned several times earlier the System has been drawing its sustenance from the ‘generous’ service providers who possess our database and make those available to all the marketing hawks. But why don’t they provide the crucial factors too, like say age? Well, perhaps, they’ve grown a little apprehensive thanks to the increasing public cries for privacy and data protection. Or maybe they don’t care, taking into consideration the possibility of catching even the old and near-dead fishes in the expansive nets of their ‘other’ customers.

 

However, it’d indeed be a good practice for the generous database holders to at times clean and weed out the old fish, thus eliminating the senior citizens, mercifully. This would also help the hapless endlessly ‘calling-casuals’ focus on the real targets and not waste their companies’ precious time trying to catch the ageing, useless and the ineligible preys. In such heartlessly competitive times, the predators must prepare themselves fighting-fit too as their prospective preys have also been becoming alert, conscious and smart in the meantime. Not to speak of the destructively creative and marauding online fraudsters who too have been drawing largely on the benefits of the doubts emerging from the generous goings-on!

Hindustani Classical Music Living Legend Dr. Prabha Atre Speaks!

The living legend of Indian Classical (Hindustani) Music and the senior most vocalist of the Kirana Gharana, Padma Vibhushan Dr. Prabha Atre celebrates her 90^thbirthday on 13^th September, 2022. This is indeed a most significant and momentous occasion in the history of Indian classical music as the complete artiste goes tirelessly on serving the cause of music with her lilting compositions, her sweet and melodious presentations, her scholarly discourses, her progressive outlook, her in-depth research and enlightening books and her devoted role as the most ideal beloved Guru for her countless disciples. Dr Prabha Atre holds the world record in releasing 11 books on a single subject which is music and has been instrumental in propagating and popularizing Indian classical vocal music in the West as the late Pt. Ravishankar did with the Sitar. On this occasion the legendary artiste is also initiating a new chapter with the inauguration of the Kirana Gharana Library and Resource Centre in her Gurukul in Pune on the morning of 13^th September.

 

I have had the good fortune of knowing this great personality for over the last thirty years thanks to her adopting my wife Ragini Chakravarty as one of her leading disciples. I had great moments of meeting her in various ways—as a motherly figure in her home or in our home, her precious lessons to my wife and her sternly professional form in public concerts. What fascinated me from the beginning has been her modesty, simplicity and a down-to-earth approach to life. Her exemplary lifestyle is indeed the secret of her boundless energy and astounding success. To mark this great occasion, we reproduce below Dr Prabha Atre’s appeal to the music lovers and a thought-provoking article on music that could very well lead to the much-needed reforms apart from enlightening the music learners as well as music lovers on the modern trends in music. (Courtesy: Bharathi MD, Secretary, Dr. Prabha Atre Foundation. Thanks to the efforts of the Foundation the gems and the evergreen presentations of Dr. Prabha Atre are being made available on a weekly basis on YouTube.)

Dear Music Fraternity

Namaskar!

 

Standing at the doors of 90, I, as a classical singer would like to share my thoughts

about raag-ras and raag-samay concepts in Hindustani classical music. We all know that

tradition is not a stagnant pool. It is a river flowing with time, assimilating new trends and

discarding outdated practices. We have to examine today’s music performance in the

context of present times. I request you all to go through the write-up given below. Don’t

 you think we should make necessary changes to make our music richer based on logical

 and scientific reasoning?

        

(Prabha Atre) 

 

 

RAAG-RAS AND RAAG-SAMAY

 

Music is considered to be the purest form of art. It does not represent anything in this world.  It has its own language and meaning.  Its abstract nature detaches it from all the ‘known’ in this world. Man has used music consciously or unconsciously to express his feelings. Thus, the abstract in music became concrete and specific for him. The abstract quality of music is best represented in the concept of raag in Indian music where music exists for itself, it remains within itself.   To approach raag in its bare form, therefore, is difficult both for an artist and a lay listener.

 

The association with some ‘known’ element helps the artist in giving character to the raag and listener to experience its emotional content. Therefore, in the process of creating a raag the artist in spite of having good knowledge of theory and technique looks for some outside help to transform the ‘abstract’ in raag into the ‘concrete’.

 

The concepts of raag-ras and raag-samay are an attempt to provide ‘concrete’ to the ‘abstract’ in raag. By identifying melodies with gods, seasons, hours of the day, etc., man attributed ras or moods to melodies, which helped him to create his music with distinct character.

 

Raag-time theory is also an attempt to provide ‘concrete’ to the ‘abstract’ in raag.At one time, man was very close to nature which perhaps explains the relation between a raag and a particular time. Today, man is far away from nature, living in closed walls, in an artificial environment. His life-style and habits have changed considerably. Under these circumstances, can one relate raag with time?

 

The abstract in music can be experienced best when there is some visual, some past association and some verbal communication to go with it. The time theory provided necessary context, especially to distinguish between melodies having similar features.

 

The modern theory of enjoying music advocates thatthe aesthetic emotions are generated mainly through the expressiveness of the voice, treatment of the musical material and tempo. The verbal text, visuals if used effectively, or associations, can also help to produce a specific ras or mood in music. A raag can express different shades of the same mood depending upon whether it is using aalaap, taan, sargam, or bol-phrases. Tempo, however, plays a vital role in creating moods.

 

A number of questions arise in the context of raag-ras and raag-time theories:

1. Raags are attributed specific ras. But very often the themes of the bandish i.e., song-text are contradictory to the ras. E.g., raag Bhairavi is supposed to convey Karuna (pathos) ras. The diverse themes of the song-texts in Bhairavi seem to give their meaning to raag, and listeners still enjoy it thoroughly. Raag Bhairavi is sung at any time.

2. Almost every raag, irrespective of time seems to create a lively, happy atmosphere when it enters into a fast tempo.

3. Over the years, some raags have changed considerably retaining their old names. What about their ras and time?

4. What is the time and ras of mishra (mixed) raags — raags evolved out of the combination of two or more raags having different ras?

5. What is the ras and time of a newly created raag?

6. Does an audience — Indian or non-Indian experience the same ras of a raag at a particular time?

7. When the same raag is presented by different artists, or when the same raag is presented by the same artist at different times, does every listener have the same experience?

All these go to prove that the raag-character and the raag-mood are intrinsically related to its own musical material and its treatment. Its characteristic phrases and their flow give it its musical identity and beauty, and generate aesthetic emotions.

These aesthetic emotions are converted into a specific ras or mood independently by the performer or the listener depending on their state of mind.

There are various other things which make one to think about the relevance of raag- time theory.

1. Radio, TV, and recording companies record any raag any time and that does not seem to have any effect on the presentation of the raag. Not only that, radio and TV channels broadcast these recordings at any time, according to their need. It is only in public performances that time is imposed on a raag to manifest its mood.

2. One practices any raag any time, according to his convenience and that does not seem to affect or tarnish the mood of the raag or its character.

3. What about mishra raags? Why should Bhairav-Bahaar and Yamani-Bilaawal be presented in morning only? Bahaar and Yaman are night raags.   Why shouldn’t these raags be rendered at night also?

4.  When one listens to film songs, naatya sangeet (theatre songs) of Maharashtra, or devotional songs based on a pure raag, the raag-time principle does not even remotely cross one’s mind. On the contrary one seems to enjoy any raag any time.

5.   Carnatic music is considered more tradition bound; yet it does not follow the time theory strictly. However, Hindustani music with all its flexibility still advocates the time theory!

If time theory is to be strictly followed, then there is a danger of losing raags which fall outside the concert timings. Isn’t that a great loss to Indian music?

All these queries need to be addressed scientifically, logically.

 

At present, raag-ras and raag-samay concepts are mentioned more due to the conditioning of tradition than to be followed strictly. These concepts have been deeply embedded in our psyche due to age old traditions. They have lost their relevance, context with the passage of time, but they are still followed blindly. Don’t they need to be tested scientifically? It is tradition alone which provides new pathways. If tradition starts hampering the progress and growth, then it needs to be redefined in the changed context. In such circumstances, it does not get broken or mutilated, but gets rejuvenated to provide new directions.

 

What should matter is not the time of presentation, but the quality, the effectiveness of presentation – the raag-roop evolves well and irrespective of time and ras the presentation should to be effective and should give aanandaanubhooti/bliss to both the artiste and listener.

 

 

                                                                                        --- By Dr Prabha Atre