The title of this post is inspired by the famous software engineering essay: "The Cathedral and the Bazaar" which has nothing to do with Indian classical music.
The key dilemma in Hindustani Music is that artists have to struggle with an art form which started in temples and courts and balance it against the demands of the current stage, where people come looking for a spectacle (in 2 hours or less).
Most raagas demand slow, detailed exploration of the notes and the nuances of the raag. At the conclusion of this exploration, an equally leisurely vilambit bandish commences, where the raag is explored in some more detail - paths are developed, notes examined, movements composed. The focus is on the raag, not the musician.
At this point in time, current audiences start getting bored or fall asleep. It is hard to go along with the journey being weaved in front of them - that requires focus and mental stamina. It is equally hard for the musician to avoid repetition and find newer "angles" to explore (most musicians can't, which is why they wisely conclude the alaap or gat as the case might be and move on to faster compositions).
The musicians glance at their watch, and know that they've used up 45 minutes - time to move on to the drut and engage in circus tricks. This is the split between the temple and the stage. The previous raag is discarded, and the focus moves on to the musician, not the raag. He/She now needs to entertain the crowd. Out come the pre-planned chakkardar tihais, the sawaal jawabs, the hyperdrumming and the frantic jhaala. The audience applaud, much like at the circus. The musicians finish with a bang - the audience break into applause - what a concert ! The raag, frightened by all this noise, disappears into the ether.
No comments:
Post a Comment