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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 20th 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 16th 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.


(My e-book Free on Kindle for five days. Get your copy here!)

 

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 90thbirthday on 13th 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 13th 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 raagBy 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

 

                                                                                                           


A Friendly Stranger at the Durga Puja!

  Call it coincidence or anything of that sort, for it happened again at the same Durga Puja pandal I mentioned in the previous story. This ...