Six Indian classical musicians recently travelled to China to take part in a unique theatrical project, billed as “A Chinese Concert in Drama”. Hindustani instrumentalists Lokesh Anand (shehnai), Rajat Prasanna (flute), Keshab Kanti Chowdhury (tabla), Sunil Kant Saxena (sitar), Mukesh Sharma (sarod) and Ghulam Ali (sarangi) are known for their soul touching melody, mastery over their respective instruments and a talent for versatility. All of these came in for an enjoyable test, so to speak, when they were invited to participate in a major theatrical production presented by the China National Traditional Orchestra. This institution, established in 1960 and administered by China’s Ministry of Culture, has revived and popularised the ancient instruments of China and is celebrated for its spectacular concert productions. Their recent work, “Xuanzang’s Pilgrimage”, has gone further, using the operatic and dramatic format of storytelling, and initiating a collaboration with Indian artists. The opening shows of the production were recently performed in Beijing.
“We went for rehearsals and some trial shows in May-June,” explains Mukesh Sharma. “Then in July we went back and took part in ticketed shows. It was really an impressive ( zabardast ) production. There must have been some 200 to 250 artists on stage.”
All praise for the CNTO, he notes the variety of instruments used and the way they have revived the ancient musical traditions. Sunil Saxena adds, “They were so particular during the rehearsals, videoing the sessions and coming back with feedback, whether about our group work or our solo bits.” This meticulous work was only a part of the mega project. “Our part must be about five to seven minutes out of the whole show, which is of about one-and-a-half to two hours,” estimates Saxena.
The story revolves around the 7th Century Buddhist monk Xuanzang who travelled to India in search of scriptures during the Tang dynasty. It is when the protagonist reaches India that the Hindustani musicians’ contribution begins. Dressed in costumes provided by the company, they are visible on a screen, not only playing music but also playing the role of Gandharvas (celestial musicians in Hindu lore). Quite a change for artists who are sometimes relegated to the orchestra pit, that oddly named but all important place from where the musicians support a stage show. Saxena has a hearty laugh remembering it. “Both (locations) are equally unbelievable,” he quips.
Flautist Rajat Saxena and shehnai exponent Lokesh Anand even “had to do some acting,” relates Saxena. They appeared on stage, pointing out the path to the protagonist on his trek to India, before joining the others in their designated space. The show has been well received in all the venues where it has been performed so far, say the artists. While the July performances were in Beijing, the six will be packing for another trip to China in September for the next round of shows, lined up in places like Macau, Taiwan, Hong Kong, etc., they say. Talk of a tour of India is in the air, but they have not been informed of any details.
Musical collaboration
Working with the Chinese musicians, while exhilarating, did not elicit much conversation. Calling his own English “ramshackle”, Saxena says most of his Chinese counterparts did not speak any English at all. However, he adds, “Music is a language of its own. Some of their melodies were reminiscent of our ragas like Bhairav and Saveri. We may carry out musical collaborations with them in the future.” Tuning instruments in a live show is a challenge for Indian musicians at best, and here they had to ensure perfection of pitch without obstructing the proceedings on stage — that too, very quickly. “By the grace of God, we managed in all the shows,” says Saxena. Even as political rhetoric intermittently raises the pitch on border issues between India and China, it’s collaborations like these that make people realise there is more to celebrate and share with our fellow humans.
