Usually research scholars spout dry theoretical ideas. But Natyashastra-researcher Piyal Bhattacharya dreams of breeding a clan of Gandharva Vidya followers. Almost two decades back this brilliant Kathakali exponent became obsessed with Bharatmuni’s musical ideas. He delved deep into ancient scriptures, sculptures, literature, vocals and instrumental music and, of course, drama – to discover the basic and intrinsic philosophy of Gandharva Vidya. Apart from learning and reconstructing the basics of dance and music as prescribed, described and notated in Natyashastra and its several teekas (explanations by eminent scholars), this exploration also included learning the ancient technique of playing different varieties of veenas, instrument making, dyeing of raw cloths for costume designing, fashioning of ornaments and following the dictates of stage décor.
His dogged devotion and unstinted research work won him several fellowship grants from the Sangeet Natak Akademi. With the help of the latest grant, he recently went to Myanmar to learn the technique of making and, more importantly, playing Saung Gauk under U Win Maung in a traditional way. This is a 21-stringed harp belonging to the era of Skandagupta. Albeit extinct in India, this migrated ancient Indian veena, enjoys the status of being the national instrument of Myanmar!
According to Piyal Bhattacharya, these SNA grants enable him to inspire and introduce learners to this aboriginal, obsolete (and, therefore, financially unviable) dance-music form along with its logical science and philosophy based on Shaiva-tattva (causal principles of the creation). He has groomed these disciples as per the guru shishya parampara with amazing success.
During his fascinating presentations and workshops, a few of his disciples have caught the attention of connoisseurs and scholars at the Natya Samagam, New Delhi in 2014-15, Uday Shankar Dance Festival 2012-13 and several other prestigious venues.
Among them his first disciples Akash Mullick and Pinki Mondal are well known for their unalloyed, primordial, aesthetically pleasing dance and teaching abilities. But there are other disciples emerging out of their Guru’s stable who are proficient speakers, craftsmen, musicians and dancers and who are important instruments in furthering the ongoing research of decoding Natyashastra’s scriptures in the arena of practical application of music.
Sayak Mitra stands a head taller among them as an all-rounder with his tuneful voice, graceful movements, innate grasp on instruments, analytical mind and excellent prowess of extempore oratory. He was initiated into creative dance by Tanusree Shankar. After his Masters in Philosophy, he learnt Kathakali under Kalamandalam Goutam. He also trained in sitar with Shasanka Bandopadhay. Since 2011 he came under Guru Piyal Bhattacharya.
Gradually he got totally immersed in Natyashastra and is the main research-assistant of his Guru in reconstructing the musical-tradition of Bharatamuni and dedicatedly learning the pure shruti-based singing style of Natyashastra along with playing Rudraveena, Vipanchi and Mattakokila Veena. Recently, both his Guru and he learnt Tuila/ Tuhila in a traditional way from Lalu Shankar Mahali, the last surviving maestro amongst the tribal sects of Jharkhand (Ranchi). Tuhila is recognised as Ektantri or Brahma Veena in the Sangeet-Shastras.
Sayak played important roles as vocalist, instrumentalist and dancer in his Guru’s prestigious presentations since 2011. He also performed Kathakali at Nakshatra Dance Festival 2014. He is a Kathakali trainer at Mamata Shankar Dance Company and delivers lectures on Tagore’s spirituality through the prism of Natyashastra.
Abhijit Ray, an exponent of sarod and recipient of a scholarship from the Human Resource Development Ministry, was groomed by Buddhadev Ganguly, Tejendra Narayan Majumdar and Birendranath Bandyopadhyay. After meeting Piyal Bhattacharya some six years back, he is now totally immersed in the sea of olden shruti-based music. He is practising and performing the music of Marga Natya and plays the Kachchhapi, a veena akin to sarod, as the part of the Kutapa (orchestra of the Marga Natya). He is also learning to play Chitra and Vipanchi Veena of Bharata’s tradition under the guidance of Piyal Bhattacharya.
Young, good looking Subhendu Ghosh learnt the delicate dance in Uday Shankar style under Bidhan Roy Choudhury and vigorous Kathakali from Kalamandalam Goutam. Soon, attracted by the ancient grandeur of the Marga Natya, he came under Piyal Bhattacharya. He accompanied his Guru to Myanmar to learn Saung Gauk, for a long period. After coming back to India he contributed in the playing process of Mattakokila Veena following the Natyashastra-tradition.
This Veena is the main Anga-vadya of Bharata’s musical tradition. Now he is learning to play Chitra and Vipanchi veena as well under the guidance of his Guru.
