Dhrupad – Archives: Recent Episodes
None
Audio and Video Recordings and Articles on Dhrupad and the Dagar Tradition All articles © Ashish Sankrityayan
Nasiruddin Khan – the torch bearer of the Behram Khani Dhrupad tradition after his illustrious predecessors, his uncle Zakiruddin and father Allabande, had a great following among the cognoscenti in Bengal. His remarkable singing, his great knowledge of shastra, and his extraordinary mastery over shruti, the microtones that bring out the flavour of ragas, has […]
I believe in calling a spade a spade though I have been misquoted a bit in this article and the accompanying interview in the Patrika Gwalior today. I SMSed the main points in my reply to the journalist and did not name any individuals, but said that programs must have diversity within and across […]
My Guru Ustad Rahim Fahimuddin Dagar would often speak of the difficulty of presenting the subtle aspects of sound and resonance in dhrupad with microphones and amplification. I have found that the most satisfying performances are always in fine natural acoustics. One of my favourite recordings is this one in a small space in Copenhagen […]
Rahim Fahimuddin Dagar would often talk of pakhāvaj accompaniment that follows the aṅgs of singing, for improvisation in dhrupad compositions is a demonstration of the facets or aṅgs of the rāga within the constraint of the lyrics of the composition and the structure of the tāla – its inner subdivisions and points of emphasis – […]
Ustad Nasir Aminuddin Dagar sings Raga Purvi – recorded from a radio broadcast in the 1960s by Maharawal Mahipalsinghji Sab of Dungarpur. Accompaniment to Chowtal composition on Tabla. Names of Tabla and Sarangi accompanists not known. As in all his early performances the tanpura is tuned higher in D# than the lower B or B […]
Short Alap in Bageshree followed by Dhamar (14 beats) by Ashish Sankrityayan with Mohan Shyam Sharma on pakhawaj. Tanpura Anatoli Lomonosov 14th November 2012 Great Guild Hall Riga Latvia.
In a dhrupad performance the exposition of the Raga through the abstract syllabic alap is followed by the singing of a composed melody with lyrics, set to a tala or a cycle of beats accompanied by a barrel drum – the pakhāwaj. Strictly speaking it is the composed melody, which usually has four parts, that […]
The complete official announcement of the new guidelines at the Madhya Pradesh Government’s flagship cultural center the Bharat Bhavan in Bhopal. These guidelines are already in place at the Bharat Bhavan and will soon be implemented at all cultural Institutions in the State. Copy obtained from the Madhya Pradesh Dept. of Culture. What appeared in […]
My first essay in Hindi उस्ताद ज़िआ फरीदुद्दीन डागर की शिक्षण शैली और ध्रुपद के वर्त्तमान प्रश्न ( The Teaching Methods of Ustad Zia Fariduddin Dagar and Contemporary Questions of Dhrupad) Published in Hindi literary magazine Samaas vol 9 February 2014 editor Udayan Vajpeyi.
Dhrupad Intensive Workshop in Rasa Centovalli a little Swiss mountain village near Locarno 22nd till 26th August 2014 with the early morning lower octave Kharaj practice, Vedic chantings with the use of mudras, fundamental Nada Yoga practices of Dhrupad singing, fundamentals of Dhrupad Alap and Dhrupad Composition. Participation € 100 per day including stay and […]