The arrow of the ‘Bani’

The late nineties were a period of intense suffering for me. There was the suffering of the bipolar, which had made me a social outcast, and there was the suffering rather search for myself, via my musical self; which had to appear much later in life, at a philosophical and experiential level. One of the sources of this suffering was an uncertainty about the musical ‘knowledge’ (if I may use this word about it) I had. It felt, and was inadequate, half-baked, shallow, hazy and botched up, to say the least. The need for a guru, to lead me out of this darkness, was acute- rather desperate.

It was not the internet age. One did not know how to find a guru, the world was not so seamlessly connected and neither was one exposed to a lot of musicians in an average Indian, Punjabi household more so.

1998, saw me at the Gandharva Mahavidyalaya (GMV) in Delhi- taking the bus, walking the long sunny path, hiding behind the shadows of the UGC building at ITO, taking the footpath from the bus-stop till the school, climbing the stairs to enter the classroom, of hopeful ladies wanting to learn classical music from a reluctant-to-teach guruji (who in fact was more keen to get private students from the public ‘pool’).

Six months in the 7th year (Master’s) class there and I was done with it! The search began all over again- this time it brought me to two teachers together- two men, with different worldviews, but both saying the same thing- they would not charge me for teaching anything, once they were certain I was the right ‘disciple’! Both had different roots and different methods. With one I lasted but a few months, and found him to be one of the most rotten encounters of my life. The other was A guru who molded my mind, and raised my musical consciousness- the first among the wise teachers who would teach me.

Dasgupta-ji was unlike any music teacher one would ever meet. You entered into his small living room, where there was a high diwaan and two chairs on the side, and an adjacent kitchen. My parents had accidentally met him in the house of a common friend, and had offered to drop him home, as they were all coming back in the same direction. Upon discovering that he was a music teacher, they got curious as they had a musically curious and eligible student in the form of their own daughter (me) as a point of reference. On the way back home, the music teacher shared all about his musical pedigree and the parents were sufficiently convinced that this was someone who their daughter should be sent to.

At the same time, the daughter-me, had encountered the other musician- Hari Charan Verma, who was very gifted as an artist, introduced by the tabla- accompanist of the GMV 7th year class. I was taken in by his singing and knew that I had found my guru. It was a tussle for awhile…but I paid heed to my parents in a few months and decided to meet Dasgupta-ji.

The Guru with a Quirk

Imagine meeting a music teacher who has the following conditions-

  1. I will not take any money for teaching you;
  2. You have to learn with me three days a week!
  3. It will be the way I want it- and possibly over two hours at a time!

Perhaps the average music student would be thrilled with such a prospect. So was I! what better than a guru so generous…until one really got down to it.

So the training began- two and a half hours every Monday, Wednesday and Friday of the week. The first half hour was devoted to singing the pancham- by the clock too. Guruji would put his wrist watch on the harmonium in front and we would both get down to singing the ‘Pa’. The next hour hour was devoted to ga-ma-pa-dha; also by the clock. I do not remember what would happen after the first hour…but I do recall that I would be looking forward to the Marie biscuits and tea that aunty would bring forward, somewhere along the course of this. That was the sole bright spot of the whole singing- the Green Label Tea with its light aroma, and always the same taste- which I love till date.

But what a thing. Hours of singing and no musical ragas, no compositions, no fast paced actions, nothing- all at a century old pace, a leisurely dip in one note at a time for a youth (I was 25) who was so restless (thanks to psychotropic drugs), anecdotes from the lives of his gurus- Ustad Mushtaq Hussain Khan and Ustad Ishtiaq Hussain Khan, comments on the popular musicians of the day- which I hardly bothered about, and musical ideas that his gurus had handed down to him. I would be angry at times at the rebuff- he would stop me from singing so many times, and insist I slow down, I sing more precisely, more accurately. I was 15 years of a trained student, not a novice, and this was nothing but an insult for me. But I kept taking it- because he was never mean about it. He would explain to me, the significance of the ‘shuddh bani’. For the first time I heard it from him and understood the meaning of bani- and then I understood there were other ‘banis’ also going around- Dagar bani, Khandhar bani and one more (whose name I forget).

He would repeatedly tell me, ” Just learn the shuddh bani from me, and then sing whatever you want to sing. Sing classical, bhajan, ghazal or anything- but sing it in shuddh bani. Your voice will never become hoarse- you will sing the same into your old age, you will never go off-key.” Half the time, as i stood on the bus-stop later to take the never-to-appear bus home, I would tell myself I am not going to come back here again. But two days later I would still come back.

My stint with him did not last long- only for about a year or a little over. But it was enough to drop the seed in my head- the seed of the shuddh bani and then began my search, which would take me to many a guru and style, until I would come within and integrate them all.

When I would press him to know which musicians sang the Shuddh bani that he advocated so much, he would only name Mehdi Hassan and possibly Lata Mangeshkar. Among the classical musicians he was not willing to name any! It is not proper to name all the musicians he could find faults with- for this is a public medium and in India we hold musicians so ‘sacred’. But the fact of the matter is that, forget about Raga interpretation, even on the count of ‘swara’ musicians could find faults with one another. I have a lot of memories in my head about the family of Ustad Mushtaq Hussain that guruji shared with me- in particular how Khan sa’ab was so dismissive about most of his family and extended relatives. The only person guruji told me, who had any merit among Khan Sa’ab’s sons after Ustad Ishtiaq Hussain was Ghulam Taqi- but I think he also died early.

There were two people who I went to meet with guruji, on two separate occasions. One was Smt. Sumati Mutatkar- who was then into her eighties and the other was Ghulam Hussain, possibly a son of Khan sa’ab, or his son in law (I forget). The former lived in the Asiad Village and the latter in Zakir Nagar, Okhla. She had retired as the Dean of the Music Faculty, of the Delhi University, while he was a radio artist if I can recall correctly. And later guruji would have told me how Khan saheb had refused to teach either of them! But that is life.

When a tree becomes big, many can see it and reach out to it, to touch it and take cover under its umbrella and claim it to be a relationship, just because they have been close to the tree- regardless of whether the tree acknowledges that or not. In India, the musical learning tradition has no clear-cut pathways and anyone can claim to be anyone’s disciple (the way a certain big musician claims to be the disciple of Ustad Bade Ghulam Ali Khan, without even meeting him!). Delhi was full of musicians once upon a time who wanted to learn with Ustad Mushtaq Hussain, and Khan sa’ab would shoo everyone away or just while their time away, because he could see an ardent disciple from the ones who just came after his name.

He had after all seen Dasgupta-ji’s passion for a long time and tested him out, before taking me on as a student, but not before he himself had turned 93!

Mummy also stepped in

My mother has a strange relationship with some of my ‘people’- friends, teachers and gurus. With Dasgupta-ji also this happened- may be because mummy and papa had first met him, and not me. But mom got both guruji and his wife, a senior citizen’s pension, because she knew the local counselor of Kalkaji, who gave them the status of senior citizens. Guruji’s wife was very happy as for the first time in her life, she got money in her own name.

I learnt with guruji not more than a year, I think- but he got the pension from the government till the end of his life. I may not have paid him directly, but my mother ensured them some money for the rest of their lives. I feel proud of my mother for this, as also gratitude that she would do such things for people who had little connection with her in a direct way.

Today I remember Guruji, with gratitude that he raised my musical consciousness to that level where I could understand the different aspects of rendition and what makes a music touching as opposed to a musical wrestling, jostling or ‘smartness’. A deeper musician does not need to be smart at all, you just need to be simple and your music will speak to the heart of another directly- you don’t have to worry about impressions at all!

Last week brought a surprise…

A few days ago, a former student of Dasgupta-ji connected with me, thanks to the intricate web of the internet from somewhere in the US, and we got ‘talking’ (on email) about so many things- largely about our guru in common. But the uncanny thing was, that he said that he wanted to make a donation in the memory of our common guru, to Hansadhwani Foundation as a support for the work we are doing.

I am just thinking> money has a strange way of going around and coming around! This universe is so full of mystery, that it baffles me what all can happen. I am touched and humbled at the same time. The mysteries continue to unravel. Is this a blessing from guruji, by any chance? Is this an acknowledgement from the universe that I am on the right path- where without even me asking anyone someone is stepping forward to offer support? Is this a mystery or is it logical?

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Kindness that leaves one speechless

On 25th June, I wrote a post on this blog,  in which I mentioned about Deepak Raja and his new book- Raga-ness of Ragas. Since he had invited me for a promotional lecture about the book, via a WhatsApp message, I thanked him and promised to give it an honest effort. (now of course with the changed situation of my spine, which is getting better and I am gaining in confidence, due to the treatment, I may be able to go) But just to be on the safer side, I kept my doors open, and I told him so. Also the traffic situation in Delhi is quite tedious in the evenings- I have stopped going out at all in the evenings! But that is also characteristic of me- for I prefer my own home, my writing, books, music and reading over mingling with people in the evenings, or on some occasions riyaaz as well.

So anyhow, out of curiosity I thought I would take a look at the contents of the book, since I would not want to remain totally ignorant of what is happening in the world around. So when I opened the publisher’s link I found many interesting things, and this was my response to Deepak-ji at that point.

Prateeksha Sharma

25 Jun (8 days ago)

to Deepak
Dear Deepak-ji
Coming from you, this is heartening to say the least. But alas ghazal is not the genre I dabble in these days- only khayal. Since I never made any recordings of my khyal music, this was the only thing I though of sharing upon a whim.
If you read this piece of writing, which has my music also embedded in it, it may give you insights as to how the ghazal came about in the first place. But of course reading may be a little tedious considering you must be reading so much else as well.
Just out of curiosity I looked at the index of the new book and I am feeling very keen to buy it, though it is so steeply priced. These days a lot of my expenditure is in the direction of my phd books. But lo and behold I find another compelling reason here- you are doing a point by point analysis of bandishes and taans and whatnot. 
Just last week I was working very ‘profusely’ in Durga. I worked on a bandish whose lyrics came from Bhatkhande’ s book, yet music was my own. then I worked out a song for little children (between 5-8 years) and then on another tarana, all in Durga. Concomitantly, I learnt three or four bandishes with my own guru. I am still learning, as my learning has never been continuous thanks for a very unpredictable life. Anyhow, things are much more settled now and therefore this gush of musical compositions, in this or that raga.
I think it is only a matter of time that I will buy the book- am hoping they would come out with a paperback as well.
warmest regards
In response came this mail from Deepak ji (26th June 2017)
Dear Prateeksha:
I am sending herewith the manuscript of my book on Raga-ness. I hope you find it interesting. 
Regards. Deepak 
And lo and behold, the book manuscript comes into my computer!!!
The gentleman took 15 years to write the book or however we see it…and I cannot imagine his generosity and kindness in simply sending the manuscript to me- just because I said I cannot buy it immediately. But of course i have to buy the book, there is no option to that, not even for a moment, in my mind.
My response to him-  (26th June 2017)
Dear Deepak-ji
This is extremely kind of you. I am honored and so touched by the gesture. 
I will make do with the manuscript for now ( I have no words to express my elation). It is only a matter of time that I will buy it, because reading a hard copy has no substitute, as of course the sense of seeing the book in print and holding it in your hand. I value books immensely and therefore buying one that I deeply value is only a matter of time for me, and juggling a bit of resources- but I usually get what I want. 
I also value the fact that you took a long time to write the book, so if I take a little time to buy it, there is no loss. In the interim I have the manuscript to refer back to. I have many books that I want in both versions, because each form has its own place in our hearts and our reference systems. This is one of those precious ones.
Someday I will get my copy of the book autographed by you. I will read the book and come back to you slowly, because there is so much to learn in every direction. I am just planning a research article for a journal, which has recently accepted my abstract for a forthcoming special issue.
I wish you more books and scholarship ahead, and may the world be enriched by your knowledge.
In gratitude
And this is the letter I received in response-

Deepak Raja

26 Jun (7 days ago)

to me
You are welcome. Prateeksha. 
A reader of your caliber is a privilege.
Regards. Deepak
In my life I have seen and interacted with many a person and musician. The only thing that comes to mind from my interaction with Deepak-ji is that here is a musician who is a human being first. It is not easy to find humans among musicians– they are musicians first and last and their musical egos live on giant mountains. To interact with a person who has a great acuity of ideas, in addition to musical knowledge, language and expression is a matter of great fortune, nothing short of it. I know in my lifetime I would have met some fine minds and I am grateful for it.
The book is a real treasure for a person like me, and having seen it in the manuscript form I am only too excited to order and get my copy as soon as I can.

Feedback that gladdens your core

Of course every feedback is valuable to an artist, but some is more so. The ‘more So’ happens when it comes from seniors who are significant in their own right. Yesterday, by chance, upon listening to one of my ghazals (while sharing it with another dear friend who is equally fond of my music) I thought of sending a ghazal to a senior musicologist, who I got to know last year in the course of writing my (in progress) book. This senior musicologist is Sh.Deepak Raja, who also writes very insightful books (now four) and blogs.

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Deepak Raja, with his guru, Pt. Arvind Parikh- and the former’s fourth book, whose promotional lecture is on 14th July 2017

Books have strange and mysterious lives- they can grow and wane at a whimsical pace. That music book of mine has taken a backseat for now and in the course of it my contract with the publisher (a very prominent one in India) came to an automatic termination, as my health (spine) would not permit me any time on the computer. Nevertheless I have put in a lot of thought, labour and effort in it to whatever extent I have managed it so far, and for now I have laid it to rest and got busy in setting up the school of music and other related pedagological issues. Naturally enough at this juncture other things have taken precedence- possibly my Phd research most of it (it better), and my musical research not far behind (all in the compositional domain though).  Dogs have also contributed to this shift in some significant manner.

So coming back to the issue of the feedback, I sent a ghazal of mine to Deepak-ji, as I had had a WhatsApp interaction with him earlier in the day, for he invited me to a lecture of his to happen in the near future (14th July 2017) in Delhi. The day seems fine to me, being a Friday and I have no teaching classes that day. He will be talking about his book, Raga-ness of Ragas. I may or may not be able to go, but I think I would seriously give it a try. This was the first time I shared my music with him, despite communicating with him on scores of occasions- on email and phone, never in person as yet.

Earlier this morning, I received this email back from him-

Deepak Raja <deepak.raja@ >
to: Prateeksha Sharma < .com>
date: 25 June 2017 at 09:19
Dear Prateeksha,
You are an excellent singer. I am glad you sent me this link. Not an intrusion at all. I will now also hear other recordings. 
Thank you again. 
Warmest regards. Deepak 
Coming from such a heavy weight, it sure is a great honor, and I feel the need to write a post on my blog for I am so touched by his words.

As also that of my friend, who I just call here Ali- a professor of Linguistics in an American University, and a Pakistani by birth, and a  philosophical, deep and insightful individual . Upon hearing the same ghazal, he said this to me-

Thanks for singing the Urdu Ghazal, the way it should. The accompanist: baja, violen and Tabla jelled with the beautiful rendition filled with powerful musical expressions
The best is that singer kept the swaras and lyrics in a beautiful combination
(I have copied his words from my facebook chat with him)
Every appreciation is valuable, as I said earlier- but some are more so. These are two such.

The abuser, teacher

Just this morning, I wrote a post about a piano teacher (click link). It could have been a happy case of writing about a musician and how wonderful it is to interact with young minds and impart them newer ideas about playing music, but this is not such a post. It is about an abusive teacher. The dilemma about knowing abusers is multifold. But the story about teachers abusing power only changes- it does not end, it does not create new outcomes and definitely in an unregulated environment, it can create some dangerous outcomes.

There was a recent incident, which I read about in the newspapers, just yesterday, about students stabbing a teacher. It takes a lot of anger to stab a person and that too when it is a teacher – who is traditionally assigned greater power socially than students. First of all, this itself is a critical issue. Why should teachers have more power than students? Is the students’ ‘work’ of student-hood any less significant than a teacher’s? Can teachers become teachers without having students? Can teachers become better teachers by teaching the same thing again and again, year after year, without any change, if students do not question them?

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I do not personally think that students would stab a teacher upon a little provocation. To come to a point of stabbing a person, unmindful of its consequences is sign of accumulated anger- which for sure does not happen in a day. I have seen school teachers, particularly in government schools treating their students like despicable vermin. There was a well-feared school principal who was known to hit his students with big bamboo sticks, and not thin ones at that. I always carried the image that government school boys are ‘goondas’ or ruffians till I did not grow up and learn to understand the politics of knowledge, and how one class is ensuring the perpetration of ignorance of another class, by not even wanting to educate them- which the oppressed classes are seeing as the sole route to their emancipation and social upliftment.

Misplaced Hierarchies

Personally I believe that teachers being ascribed more power than students is itself a sign of a decadent, patriarchal value system in which the elements that constitute the system are not recognized as partners but viewed as a hierarchy. Patriarchy is also based on the idea of hierarchy and dominance. Of course it takes more  complex forms, about ownership of wealth/decision making ability in a family, society or institutionally. But the underlying idea is dominance. The whole Indian system of the guru-shisya parampara, which is carried down historical times until now is a continuation of the same hierarchical, decadent system, which carries on, with teacher-worshiping and unquestioning submission to the teacher (irrespective of their intelligence, kindness and knowledge). It is no wonder that our education is not producing the sort of social outcomes, growth, development and critical thinking that knowledge is supposed to inculcate. With unquestioning submission, nobody dares to question and nobody cares to answer, if someone questions.

Higher you go, lonelier it gets…in education

In the same context I would like to share here that recently I was having a telephonic dialogue with a young woman who is entering into a clinical psychology program, in a premier institution in India- someone who did a masters’ in psychology from a major university. I had read some of her articles and told her that I could see a research potential in her, though I did not see her academic articles to be thorough or methodologically significant. She said that nobody in their department (her teachers) helps any students! They (the professors) have so much on their plates already that it is not possible for them to pay heed to the needs of their students. I thought it was a great irony, since professors are paid to impart knowledge explicitly to those students only. They ought to at least guide their students and steer them in directions which bring their ideas to fruition or at least a clarity. Though as a student she was trying to condone her teachers’ lack of kindness/ethics/participation in the lives of students, as a student and a researcher myself I find it unpardonable. She further said that she has been told already that M.Phil that she is entering for, is all about finding your own way through the world- of ideas, patients, counseling methods and so forth.

Is it any surprise that when students come out of these departments with vacuous degrees they actually have no skills to offer to the world? They are just exposed to people, without given the wisdom and knowledge how to interpret the exposure. Everyone can have an apple fall on them, but only a Newton will think about it to arrive at the idea of gravity. Hundreds of people would have been hit by something falling from above- do they end up finding new ideas, new solutions or new perspectives? Then how to we create new knowledge? By just tossing about old ideas, in old vessels and older ways of looking at life, which are not even created in our own country, but the West?

So…coming back

Anyhow after these thoughts about education in India, as it goes, I need to come back to the main subject that triggered off these thoughts- about the piano player.

I have known him for at least 15 years- from a distance, the sort of knowing when you know a person’s name, their work (not having heard it) and knowing that he is a go-getter. The trouble with India is that a lot of us are gogetters. We will do anything to get what we want- even deviously, following no inner or social morals, because our conscience permits us to do everything, by hook or by crook.

Since I have already written the post about him, in this one I am not going to repeat my words written there. My concern here is the underlying philosophical, ethical, moral and social responsibility which we end up shirking when we abuse our own students. The other concern is that a whole lot of people are in the teaching market, in an unregulated manner, where their knowledge is not measured, nobody questions them about their methods and parents are largely ignorant about anything- from general education to art education. In such a grey scenario, the ones who know even a little are able to masquerade as knowledgeable and get jobs and private classes..

As human beings we all love to direct our emotional expressions at someone we can identify. Today I see that I can identify in that man, the piano teacher, an abuser- a convenient scapegoat for my angst. However more than my anger he provokes my sadness and my dejection- at the emptiness of everything people do. What is the significance of music if it does not deepen your own inner gaze and make you think about life, creation, philosophy, society and your own responsibility in a meaningful way? Is everything only about our bread and butter? Isn’t it a great shame really and we think and believe we belong to a great nation? So where is that greatness supposed to be, if we are not able to muster it in our daily life and day-to-day behaviours with our fellow human beings? A greatness of the past means no greatness at all– for the past is only a matter of the eyes that interpret it and History is only about interpretation- not about the truth. We do not need to glorify a past where a majority was oppressed and deprived of their dignity. What else was the guru shisya parampara if not exclusion of a majority of people from the possibility of achieving knowledge, which would only be imparted to a select few?

Teachers need to get out of their guru-hoods and embrace their journeys as inquirers and responsible citizens, who can only hold a candle, akin to an indicator/sign of the path of knowledge. The path is not owned by them, nor created by them. They are journeying on the path as co-voyagers of their students, colleagues and several others. If they cannot understand that, they do not deserve to be teachers and today I can say that a majority of teachers in India do not deserve to be teachers. The minority wherever it is, is worthy of salutation and to them I bow as the upholders of a value system, in which it is not the ego of the teacher that is supreme, but the process of collaboration that learning and teaching is supposed to be- the co-creation of knowledge.

When age gets to you faster than your time

I have been meaning to write this post for awhile now, but due to extreme pain in my spine the time I am spending on my computer is extremely curtailed. But when I saw ideas piling up in my mind, I thought I might as well, put this down, lest…I lose it completely or all the others that seem to be wafting in my mind, of late.

I recently had to go through spinal x-rays, IMG_20150719_105931388_HDR (1) as my back has been in a lot of pain. If I would sit on the computer, I would get up and walk crooked for the next several seconds, before it would un-stiffen. The orthopedic I went to in a government hospital nearby told me it was all well, i should take some pain killers and go for physiotherapy. I know so much yogasana, but thanks to a lack of inner discipline about this one aspect of my life I have suffered irreparable loss.

Next I went to an ayurvedacharya – he recommended this treatment Churna Pinda Sweda (PODI KIZHI)- Fomentation massage by bolus of medicinal powders in hot medicIMG_20150813_121054917ated oil. Right now that is what I am getting nowadays and then sit in a bath of steam for at least ten minutes!!!

The experience is so painful, because the effort is to apply heat to my calcified vertebrae and then make the calcified portions become softer. I was a bit saddened to hear from the doctor that at age 43,  “What appears at age 50, is what you are showing already.” He wondered how it happened. I then told him that due to long illness of bipolar, I was in deep depressions for long periods of time, and remained mostly confined to my home and had a very sedentary life. I look back at those years wistfully now- how much they took away from me; a full time career in music, possibly as a performer, introversion for years of solitude with no friends to fall back on, and no networks who would one day support my music, if at all I would be able to sing someday, or have any other form of career. And now this. I am not mentioning here, the liver damage, the other bone issues or the thyroid that happened as a result of medication.

But just when you think the worst is behind, it really is not the case. So now this oil therapy and all the other ayurvedic pills I have to consume for a few more days. Right now the pain is extreme, even while sleeping I find myself in agony. I am really hoping this treatment, by increasing the pain is getting them out. What if it does not and makes it a part of my daily experience?

As it is sitting continuously is difficult, also for riyaaz. Tragically today my guru, Madhuri aunty told me that there is no way I should not become a performer. I have a throat, weight in the voice and strength that if I apply myself I will most certainly be a performer again. My heart winced in pain- if only she had said that long years ago, I would not have bothered in any other direction, trying to find a toehold. At 43, it seems late to begin. The only courage I have is to remind myself of Ustad Bade Ghulam Ali Khan, who started his training at 39. I, of course, started young but to be a performer, is a different ballgame. So having done the long road of bhajan and ghazal, if there is one thing I want to now do it khayal, and that is all the current effort invested in.

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This is a view of the greenery in our village home. The slopes are part of the space of the house- a great number of trees have been grown by Andre and yet many comes down from generations ago.

What comes ahead is a mystery, but it is a great thing that I have a partner who loves my music, who is always happy to hear my tanpura playing, who demands that I do my riyaaz, even if he does not understand Hindustani music, who is creating so many kinds of spaces in a rustic village home for me to sing and work on musical ideas, that nearly all that I could have asked from a life of extreme pain seems redeemed. And yet, not really so. how can your pain be over, when humanity suffers?

Recovery story of one means that recovery of another is also possible

The companions of my research journey

The companions of my research journey

A few days back I wrote the following, for a public forum. I write with the idea that since we acquire all our knowledge in a social domain, we can also take ideas from the lives of others. When I was seriously ill, I had no one whose story could inspire me to get well, or even think that wellness was a possibility. But encountering the writing of Kay Jamison Redfield changed that perception. But considering that she was a big professor and I was a very small fry put me in no small anguish. That is why to write about the ordinariness of living a humble life, full of suffering and no real accomplishments, I hope would offer some milestones to others. Of course music is a unique part of my life and work, especially its contribution to my wellness.

Anyhow, this is the piece that was meant to be shared on that site, and it sheds a little light on how to read the story of one person’s successful recovery from a potentially disabling condition and why it is NOT a person’s story alone, but a cultural success for all humans, for we can see how within the resources that we have we can also create new outcomes for our suffering. This is my hope too. So while this is another link to my main paper (directly download from here), the other article follows here-

Recovery Stories foreshadow other recoveries

(This little writing is a prelude to my longer publication, which I ought to have offered to everyone who read the main paper. However since I did not think of it earlier, it does not absolve me of the responsibility of doing so at a later date. By writing this piece I hope to simplify the reading of my publication and to invite many other dialogic and creative possibilities using the arts, or music for that matter, toward therapeutic outcomes)

I do NOT want this to be read as a personal victory, for in that case I need not document it, by going over the laborious task of research writing and publication, which took a year and a half to be finally seen by others! The reason for me to work in research like several others, post our recoveries, is that we wish to see the patterns of disabling conditions at hindsight, enriched by our lived perspectives. Research always begins with a subjective agenda, but also has its own criteria. We cannot be telling our stories just to seek attention toward ourselves, but definitely there is an element of attention seeking involved here- yet not toward the person but the question of the research.

The question that I wish to address via this writing is that Recovery is (often/always) possible in serious mental illness, and that this paper shares the process of one such- the evidence of such a recovery. This is also a little background of why I head an arts based non-profit, a research organization of recent origins, whose agenda is to create synergies in health and education via the arts, and to create possibilities where more of such recoveries happen via the interfaces that such an immersion can bring about.

Auto-ethnography is NOT self advocacy

I often use autoethnography as the method to write about myself and it is not to be confused with self-advocacy. The purpose of the two is quite different. While we work in research we sometimes work in situations where we do not have access to others or our  stories are so unique that they, by themselves, carry enough seeds of ideas. This is more so in survivor- research (though my own preferred usage now is emancipatory research). The other situation in research is that once we get out of the tunnel ourselves we have seen the inner dimensions of it so well (which often I am afraid even the best professionals would have no access to, unless they are fearless like Stanislav Grof, who experimented with LSD, to understand various aspects of consciousness, the root of all that happens in psychosis or other serious troubles)

I vaguely try to distinguish between autoethnography (a/e)and self- advocacy thus:

  1. A/e is a legitimate qualitative research method, self advocacy is a PR tool.
  2. The purpose of a/e is documentation in a framework which can be used by researchers and lay people alike (if they want to read it), whereas the purpose of self-advocacy is to draw attention to the recovery of one person in the hope that they would inspire others.
  3. Purpose of a/e is to draw attention to the phenomenon, while in self advocacy the person is the phenomenon.
  4. A/e is never written for popularity but with a commitment that we offer our stories for the world, as a reflecting surface in which they can see their own stories, in particular those who face similar crises. Self advocacy is a way to draw attention toward oneself and sometimes to show the injustice one has faced. Likely every person in this unjust world faces a lot of injustice, as autoethnographers we just choose to respond to that injustice in a different manner-as compassionate warriors, not simply passionate ones.
  5. In doing a/e we go through a lot of heartburn for we have to write our stories ourselves and then bring in research evidence from various dimensions to show that they are valid, whereas in self advocacy mostly there is no writing involved of that academic nature. People have already bought your concept and you just have to go and talk about it- there is a market and there is a product. Who does not want to listen to the story of suffering of another and then pat their back? But how many have the courage to say, that listen, I am not suffering now, but I did in the past, so may be if we could just look at it together there could be something lying in my recovery that you can use.

Having said that, without wanting to be patronizing and self-righteous, with due respect for all those who work in self advocacy, I still want to say that we are all on the same side of the fence- teammates of the same team, though our methods differ, in accordance with our trainings, inclinations and abilities. It takes all sorts to wage a war, and people of varying abilities need to bring their abilities together to deal with the enemy that we all deal with- the enemy of human suffering. Let the generals come from all ranks, and those ranks not be determined by the dominant voices of a certain sort only.

There are of course scores of things that can be written here, also on the subject of why autoethnography and NOT autobiography. I will write about that separately on my blog that you can follow, if you like, here

 

Musical recovery of a musician is not the same as that of a non-musician

You will read ahead that I work in many aspects of music- including in research in  areas of pedagogy on one side, therapy another and also want to see the role of music in its interaction with identity. Even some of my published research in music is within the folds of psychology among other disciplines. I am not a musician whose work is all focused on performance, though that is among the many things I do on rare occasions.

Music Education or Music therapy? 

These are two close issues that need to be seen on a continuum. Music education involves an engagement with music directly, whereas music therapy is engagement with music mediated by another person, who is treated as the expert.

For a musician like me since engagement with music is at so many levels it is actually an occupational thing, not therapeutic- unless the musician herself is so incapacitated that there is no connection of that person to the outside world as a musician (which happened in my case), and the only connection you have with music is a means of venting out your emotional-spiritual chaos. But yes, it also provided me with a means to redefining my identity and not just view myself as ‘poor girl’. In later writing I hope to share the role of my dogs, who have been one of the key pillars and closest companions of my recovery, the role of my mother, and other members of my family, the homeopath and the chance encounter with him, via my sister and one or two close friends…and that is still not the end of the list. An 18 year long illness cannot be summarized in a few journal articles- it is slow, laborious and excruciating to visit it again and again, and I do not know when I would run out of steam.

In another paper of a bigger dimension (currently under review) in which I write about the overall work I do, in the creative dimensions, I have explored the role of music in a multimodal sort of a way toward my recovery, for the first time writing about my poetic side too, as well as weaving all these with what I do in research as well. On the one side I analyze about whether the work should be seen as serious creativity, on the other I contrast it with the death of another musician by suicide, to bring together evidence that music is not always therapeutic- even for musicians.

All my research is in fact an advocacy for music/art pedagogy, which in due course can have other outcomes too. If we see in the larger context it serves the purpose of my advocacy for art-education, for I believe that the arts ought to be a part of every child and adult’s life, not only in the process of education, but also as a means to expressing the emotional and spiritual fluctuations of being alive and resolving inner dilemmas in socially legitimate ways. I also believe this about other things, like connecting with nature, gardening, sports etc- but this is as far as what I can personally contribute via my (non-funded) research and its agenda.

How would music therapy work for the non musicians or those who are not interested in music at all?

I would like to treat these as two separate issues. I am not just referring to music (or a particular kind of music) but music as a form of art. So if some people do not respond to music, they may respond to other art forms. There ought not be to a forcible reduction of everyone to using music alone.

Everyone whether they know it or not, has a musical self, which is part of their larger personality. Many are aware of their musical abilities and inclinations but some are not. So we do not focus our energy on the method but the person and whatever they respond to, is what should be offered as their therapeutic medium. If we work in coercive ways, then we would force everyone in one way only and sadly this is what happens with modern medicine, but if medicine knew its limits or that it need not be hierarchical or dominant but collaborative, people would become the center of everyone’s work and I think that no problem would be above a solution then.

I have often worked with people who seem to have no music in them, which to my mind is unthinkable. But in saying this I show a bias within myself, for am I not then stereotyping them? I once worked with a group of school teachers who I could select out of 90, into three groups of ten each- I said I would only work with 30, as a pilot. There was  a group that just did not respond to musical notes, and I brought them all quietly together, without telling them what the common ground for connecting them was.

Then I started working with them using rhythm, not melody! They were all so thrilled firstly that they had not been excluded for they all had a very poor self image viz a viz their musical abilities, and then they were more keen to prove themselves worthy! I accomplished many things I thought with this little exercise- building self esteem, letting people identify their musical abilities and not be dominated by the view that they were tone deaf (which in fact they were!) and create new possibilities even for them. If we can turn around teachers we can turn around most things in the world. This is my philosophy.

With this introduction I invite you to read this article , as an offering in creating new possibilities in health via the arts. I would be happy to answer any further questions via this blog so that more people can also read them.

Ustad Amir Khan- online repertoire

Ustad Amir Khan was such an enigma that most people have not been able to analyse the reason for the appeal of his music. Anyhow this link that I shared above is a compilation by someone who was kind enough to permit me to use from his site. Here it is the entire thing, though the link in the opening line, takes to his blog or site.

Ustad Amir Khan

“Amir Khan’s music combined the massive dignity of the dhrupad with the ornate vividness of khayal.” — Susheela Mishra in the “Great masters of music” series.

Ustad Amir Khan (1912-1974) was among the greatest and most influential Hindustani vocalists of the twentieth century. To quote Ustad Faiyaz Khan (from Susheela Mishra’s article ), “One must play with a raga with a lover’s passion. One must learn to love it to pay court to it, like a cavalier, and then alone can a musician tell the story of joy and grief; of laughter and tears. Music must please and move.” This is an apt description of Ustad Amir Khan’s music. Amir Khansahib had an intellectual’s approach to Hindustani music while always managing to bring out, with great sensitivity, all the emotive aspects of a raag.

As is well known to insiders, much of the recordings of great Hindustani musicians languishes in private collections. In recent years, thanks to the internet and the generous efforts of people at sawf.org and sarangi.info and numerous others on websites like esnips.com, a large number of recordings are now freely available online to music lovers. Unfortunately, these collections are often hard to locate. I have attempted here to put together a list of recordings by Ustad Amir Khan along with links to recordings online. This is just a beginning; I hope that, over time, and with the help of other fans of Amir Khansahib, I will be able to make this a more comprehensive list so that these gems are easily accessible to all music lovers who have access to the internet. Many links appear and disappear in time; I would appreciate information regarding broken links and any new links that may have appeared.

Musicography with links to online resources

  1. Abhogi “Laaj rakhi lee jo mori” on youtube
  2. Abhogi “Charan dhar aayo” on esnips.com
  3. Adana on The Vijaya Parrikar Library of Indian Classical Music
  4. Adana “Muhammad Shah Rangile” (78 RPM) on youtube
  5. Ahir Bhairav: Vilambit khayal “Jago re bande” on youtube on esnips.com
  6. Ahir Bhairav: Chhota khayal: “Piya para been parama sukha chatura” on LP/tape recording titled Surmanjari. AK’s composition.
  7. Ahir Bhairav: Chhota khayal
  8. Aiman (Yaman): on sarangi.info
  9. Aiman (Yaman) kalyan: on sarangi.info
  10. Amirkhani Kauns: Madhya laya “Paar karo” AK’s composition.
  11. Asavari Todi on on Rajan Parrikar’s site
  12. Bageshree: “Bahu guna kamna” on Rajan Parrikar’s site and on LP/tape recording
  13. Bageshree: “Kaise kate rajni” (from the film Kshudito Pashan, with Protima Banerjee) on youtube
  14. Bageshrikanada: “Gore gore mukh par” on sarangi.info
  15. Bahar on esnips.com
  16. Bairagi: “Man sumarata” on sarangi.info
  17. Barwa on youtube and on The Vijaya Parrikar Library of Indian Classical Music
  18. Basant Bahar: “Parana koyaliya kuka rahi” on youtube on sarangi.info
  19. Basant Mukhari: “Prabhu daata” on musicindiaonline.com and on esnips.com
  20. Bhatiyar: “Nisa dinana” on The Vijaya Parrikar Library of Indian Classical Music
  21. Bhatiyar: “Barani na jaye” on youtube on sarangi.info
  22. Bhimpalasi
  23. Bihag “Kaise sukh” on youtube on musicindiaonline.com
  24. Bilaskhani Todi: on sarangi.info
  25. Chandni Kedar Ye ri tu dhana dhana
  26. Chandrakaunsi: tarana on Patrick Moutal’s website
  27. Charukeshi: “Laaj rakho tum more” on sarangi.info . AK’s composition.
  28. Darbari: “Mori aalee, jab se bhanaka paree” (piya ke awan ki) on sarangi.info
  29. Darbari: “Tumari jay jay karta”
  30. Darbari: chhota khayal “Yare man biya biya” (Persian). AK’s composition.
  31. Deshi with D.V. Paluskar: “Aaj gawat man mero” on youtube
  32. Deshkar
  33. Gaud Malhar (short live recording) on youtube
  34. Gurjari Todi
  35. Hansdhwani vilambit: “Jaya maate” on youtube on sarangi.info
  36. Hansdhwani dhrut: tarana on sarangi.info
  37. Harikauns
  38. Hemkalyan on esnips.com
  39. Hemkalyan on esnips.com
  40. Hindol Basant
  41. Jaijaiwanti on youtube and on esnips.com
  42. Jog: “O balma” on youtube on esnips.com
  43. Jog: tarana on esnips.com
  44. Jog: tarana (in Persian). AK’s composition.
  45. Kafi Kanada
  46. Kalavati “Anmaani Piya So Rahat Hai”
  47. Kalashri
  48. Janasanmohini: “Kaun jatan ” on The Vijaya Parrikar Library of Indian Classical Music
  49. Kaushikanada vilambit on The Vijaya Parrikar Library of Indian Classical Music
  50. Kaushikanada dhrut on The Vijaya Parrikar Library of Indian Classical Music
  51. Khamaj thumri “Piya ke aavan ke” on sarangi.info
  52. Komal Rishabh Asawari “Jagat Sapna” on youtube or on esnips.com . AK’s composition.
  53. Lalit Vilambit khayal: “Tadapath hoon jaise” on sarangi.info
  54. Lalit Chhota khayal: “Tadapath hoon jaise” (second version) on LP/tape recording
  55. Lalit (“Jogiya mere ghar”) in opening credits of the film “Raagini” on youtube
  56. Lalit (“Jogiya mere ghar”) with a Farsee anthara added (perhaps his own composition) on youtube
  57. Lalit khayal: vilambit “Charan kaise aavu”, dhrut: “Jogiya mere ghar aaye” on sarangi.info
  58. Madhukauns “Bairanbhai Rain” youtube and on esnips.com
  59. Malkauns: “Jinke man Raam” and “Aaj more ghar aali na balma” on youtube on sarangi.info
  60. Malkauns: tarana on youtube (with video)
  61. Malkauns: “Jinke mana raam” mehfil recording on sarangi.info
  62. Malkauns: “Lagi la manwa” live recording. AK’s composition.
  63. Marukalyan on The Vijaya Parrikar Library of Indian Classical Music
  64. Marwa Vilambit khayal “Jag bawra” on LP/tape recording and (poor quality recording) from a concert in Pune on esnips.com AK’s composition (?)
  65. Marwa Vilambit khayal “Piya more anat des” on sarangi.info
  66. Marwa chhota khayal “Guru bin gyan na pave”. AK’s composition
  67. Megh “Barkha ritu aaye” on sarangi.info
  68. Megh tarana on esnips.com
  69. Miyanmalhar “Karim naam” on esnips.com
  70. Miyanmalhar and Ramdasimalhar “Karim naam” on sarangi.info
  71. Multani vilambit “Jaako mana Allah” on sarangi.info
  72. Multani dhrut “Balma mohe tumso laagali preet” on sarangi.info
  73. Multani “Daya karo hey girdhara gopala” bhajan from the film Shabaab on R. Parrikar’s website on sawf.org
  74. Nand youtube or on esnips (part 1) on esnips (part 2)
  75. Nat Bhairav: “Sumaranko” on esnips
  76. Pancham Malkauns bandish
  77. Priyakalyan (or Ramkalyan) on The Vijaya Parrikar Library of Indian Classical Music . AK’s composition. He also created the raag.
  78. Priyakalyan “Sarmad gham-e ishq” Persian composition. (clip from an interview) AK’s composition. He also created the raag.
  79. Puriya bandish title
  80. Puriya Dhanashree “Tori jay jay karta” on esnips.com
  81. Raagmala with Bismillah Khan Sur Malhar, Bageshree, Chandrakauns, Ramkali, Bhatiyar, Desh. From the film “Goonj Uthi Shehnai”. on youtube.
  82. Rageshree “Beguna ko guna de” on youtube (with video) and Patrick Moutal’s online collection (video) and on The Vijaya Parrikar Library of Indian Classical Music
  83. Ramdasi Malhar Chhayee Badariya Kaari
  84. Ramkali on esnips.com on The Vijaya Parrikar Library of Indian Classical Music
  85. Shahana on youtube
  86. Shree “Hari ke charana kamala nisadina sumarana re” on sarangi.info and on youtube
  87. Shuddh Kalyan “Karam karo” on youtube and “Mandara Bajo Re”
  88. Shuddh Kalyan tarana on esnips.com
  89. Shuddh Sarang on sarangi.info
  90. Suhakanada on The Vijaya Parrikar Library of Indian Classical Music
  91. Suha tarana on youtube Suha sughrai
  92. Todi vilambit and madhya laya (“Man ki panchi”) on esnips.com AK’s composition for madhya laya.
  93. Todi vilambit (“Ja re ja pathikava” (Sadarang)) and madhya laya (“Man ki panchi”) on esnips.com AK’s composition for madhya laya.
  94. Todi tarana (short recording) on esnips.com
  95. Mian Ki Todi, All India Radio programme, vilambit khayal “Shagun Bicharo Bamna’ and drut ‘Garva Mai Sang Laagi’
  96. Yaman vilambit jhoomra on youtube (Kishori Ray’s links) , continuation: also on youtube (Kishori Ray’s links)
  97. Yaman kalyan “Kajra kaise daroon”. AK’s composition (?) and LIVE recording of Yaman Kalyan, Kalashree and Darbari (London) on youtube

If you know of others, please let me know the name along with (if possible) information about where to find them. Many of the bandish titles above are probably misspelled, especially the ones with question marks, since I have relied almost entirely on guess work. If you notice any mistakes on this page, please inform me, thanks.

My email address: mharan@stat.psu.edu

Acknowledgments
I am grateful to Daibashish Gangopadhyay for corrections and additions to the above list. Bhuvanesh Bhatt also provided corrections.

Several of the recordings listed above are available online at these wonderful repositories of Hindustani music:

A short Films Division documentary on Ustad Amir Khan can be found here.

Perhaps the best website devoted to Ustad Amir Khan is one put together by John Campana and others at the University of Toronto: Amir Khan memorial website.