The brochure of Kala Academy’s recently concluded 40th edition of Surashree Kesarbai Kerkar Sangeet Samaroh in Goa introduces the incomparable Kesarbai thus: ‘Surashree Kesarbai Kerkar’s life was the enactment of a noble soul’s yearning for achieving musical perfection with perseverance and tenacity. Kesarbai was God’s gift to Goa’.
On the sprawling, beautiful premises of Kala Academy, large numbers of music lovers, critics, connoisseurs congregated as a testimony to the above statement. While it was true of Goans, it was true of classical music lovers across India and outside India as well. People had travelled from various parts of the country and abroad to pay their respects to this priceless gem of Indian music and also to listen to the fine music line-up for three days.
Kesarbai Kerkar
Kesarbai Kerkar, the consummate queen of the Jaipur Atrauli gharana, did not hanker for name or fame. Relentless struggle for perfection in music was her singular goal. A festival in memory of her is a pilgrimage for most musicians. Every musician – upcoming to senior– who performed at this festival invariably acknowledged this.
Flawlessly organised and superbly curated, the festival must definitely figure in the annual calendar of all musical lovers. Excerpts from an interview with the Programme and Development Officer, Dattaguru Amonkar, Kala Academy, Goa.
So many musicians who hailed from Goa went on to become giants in the world of music. Why did the Kala Academy decide to host an annual festival in memory of Kesarbai Kerkar?
There are many legendary musicians who hailed from Goa. I would like to remember the great Bablibai Salgaonkar, the disciple of Nathan Khan Agrewale. A six-footer with a strong physique, she looked like a wrestler. Ustad Alladiya Khan, her contemporary, considered her an extraordinary musician and Ustad Abdul Karim Khan apparently never sang after her at any music conference. She was also the court musician of the princely state of Bhavnagar. In her later years, she was attracted to spirituality and sang very less. She, however, was not as well-known as Kesarbai.
Kala Academy started a Kesarbai Festival 40 years ago for more than one reason. Her music constituted the best of all aspects of music — intellectual and emotional. She was the disciple of the emperor of music, Sangeet Samrat Ustad Alladiya Khan, who considered her his true successor. Poet Rabindranath Tagore gave her the title, Surashree. Considering all this, the Kala Academy felt it was important to keep Kesarbai’s memory alive, someone who despite all odds became a leading musician.
I don’t think there is any other festival in India that pays tribute to a woman musician.
There were several great musicians from this region: Bhaskarbua Bakhale, Jitendra Abhisheki, Anjanibai Malpekar… but when you look at the life of Kesarbai, you realise what it means to become a star in a society dominated by men. She came from the Kalavanth community, where women were pressed into the service of the temple. They were phenomenally talented, but had no status in society. The mothers of all these great daughters strived to hone the talent of their daughters so that they were known to the world by the quality of their art. It was not easy; the travails of their lives is hard to explain. Kesarbai Kerkar, Mogubai Kurdikar, Saraswatibai Jambavalikar, Bablibai Salgaonkar, Dattibai Nageshkar… all these women became brilliant musicians. In remembering Kesarbai we are remembering all of them.
Kesarbai was known for her sadhana, she practised music like penance. She was known for her unparalleled guru bhakti, her uncompromising nature, and her pursuit of perfection. What do you wish to uphold through your festival?
Her guru bhakti. As you know, Ustad Alladiya Khan was not willing initially to take her as his disciple. And when he did, he did not allow her to sing in public for 25 years. Not once did Kesarbai feel bitter about this. Trust in her guru was implicit. Now people just drop words like ‘guru seva’ without even understanding its meaning fully. Learning is now a commercial activity. In three months you want to master a raga, in two years you want to be on stage. During Kesarbai’s time, the gurus taught a raga for several years; it was not about learning a raga alone, they were grooming the voice, technique, and most importantly the ability to think. Kesarbai was an expert is ragas like Sawani Nat, Nat Behag, Nayaki Kanada and many others.
Chairman Govind Gaude of Kala Academy inaugurating the festival. Photo: Special Arrangement
It is like a gold standard. She and Mogubai were Alladiya Khan saab’s finest disciples. But do you know what he said to Kesarbai? “Music is like an ocean. What you have taken from me is just a few drops.” This he told her after 30 years of gurukul training! We want to pass on these values. Humility is a great virtue, without which art is shallow.
The festival just completed its 40th edition. What has been its journey?
There has always been a conscientious effort to bring the best musicians from across the country. Best is not popular, but scholarly. In the very first edition, we had Nisar Hussain Khan saab , so you can imagine! The festival has been strictly Hindustani, but in the last five years we have added a small component of Carnatic music. We are yet to bring in a vocal musician, but we have had Vikku Vinayakram, U. Shrinivas, Umayalapuram Sivaraman, Selvaganesh, Ganesh and Kumaresh, and Jayanti Kumaresh. Last year, we brought in the percussion ensemble led by ghatam artiste Sukanya Ramgopal.
The curation of this festival is entirely on merit. There is a three-member team which included Prasad Sawkar, Ajay Naik and me for this edition.
What is Kala Academy’s contribution is to the world of classical music?
It is immense. Every artiste feels their career has been elevated by performing at this festival. They hold it in high esteem. It is also an opportunity for youngsters to learn about Kesarbai Kerkar. If they are inspired enough to learn classical music and emulate her in small ways, it is a big step for us.
Dattaguru Amonkar, programme and development officer
Goa lost most of its musicians to Bombay but brings them all back through this festival.
Although Goa produced legendary musicians like Abhisheki, Karekar, Kishori Amonkar and several others, they had to leave Goa seeking a guru or an opportunity. They established themselves as top performers and brought name and fame to Goa. In fact, there is a popular saying, ‘Maharashtra sings in Goa’s voice’. If they had remained in Goa, they could not have achieved all this.
Pravin Barad, member secretary of Kala Academy
You have also started a festival in Kishori Amonkar’s memory.
Yes, we had one edition; hopefully we will have the second one this year. Kala Academy’s general council decided to hold this festival as a mark of respect to Goa’s daughter Kishori Amonkar.
(A report on the 40th Surashree Kesarbai Kerkar Sangeet Samaroh will be published next week.)
