Bahauddin Dagar, 41, is the 20th in the line of the Dagar family, which is synonymous with Dhrupad. Son of the legendary Ustad Zia Mohiuddin Dagar and nephew of Zia Fariduddin Dagar, Bahauddin started training on the sitar under his mother, Pramila Devi, at the age of seven.
After three years, he learnt the surbahar and then the rudra veena under his father. His father died when he was 20, which forced him to take to performing on the stage. Since then he has taken upon himself the task of keeping the Dagar bani style alive on the rudra veena. The young Ustad runs the Dhrupad gurukul in Mumbai and teaches students vocal as well as instrumental music.
His students are drawn from different backgrounds in India as well as abroad. He ardently believes that teaching is integral to his own learning and growth as a musician. He was presented the prestigious Sanskriti Award, instituted by the Sanskriti Foundation, New Delhi, in 2006, the Yuvak Sadhak Award by the Sangeetendu Lal Mani Mishra Foundation, Bhopal, in 2007 and the Raza Award 2007 by the Raza Foundation, New Delhi. Exceprts from an interview:
What do you think is the future of such an esoteric art given the lack of good teachers and support from the government help and corporate sector?
I was really lucky to be born in such an atmosphere where daily discussions were held and music was taught. So the sanskaars, as we say, were apt for learning music. I don't think this art form will die easily as there are practitioners and we still teach in the gurukul system. Maybe after Independence it was dim but now things look much brighter. More than the government or other support it is important that the practitioners propagate and teach this form to keep it alive; the rest will follow. Especially, now, when the world has become a much smaller place.
What are the subtle differences between Khayal and Dhrupad?
Khayal and Dhrupad are two different streams of thought of the same matter; in this case music. While Khayal mainly deals with poetry being the main form and then improvising around it; Dhrupad deals with syllables that bring a sense of abstractness. A taan in Khayal consists of aakaar modulation of notes or a bol taan where poetry is used in a fast pace. In Dhrupad it is just the syllables and at a much slower pace. In Khayal, as opposed to the aalaap in Dhrupad, it is vilambit poetry and then a drut. In Dhrupad, the aalaap, jod and jhala are the three modes of speed prevalent and then the composition. But to my understanding, and as I have seen it, the subtleties have existed in both the genres as they are totally dependent on the artiste rendering them. It is entirely a different matter that Dhrupad thrives on such subtleties and Khayal thrives on flamboyance and romanticism.
How do you relate to the audiences when you perform abroad?
We in India always talk about music being a spiritual journey. I firmly believe in that. I don't see myself facing an audience or playing for them. But I do play in front of them. I don't differentiate between audiences, Indian or non-Indian. Those who like it will stay and those who don't move away; anyway everybody doesn't like everything.
In your interaction with writer Deepak Raja you mentioned that people in smaller towns were showing more interest in Dhrupad than people in the bigger cities...
People in small towns always show much greater interest than people in larger towns as they are not taken in by the demands of the city life. So there is time for leisure and to indulge in art and art forms. This is the case all over India.
Besides the rudra veena, what other instruments can be honed for the Dhrupad style?
Besides the rudra veena, my father taught the surbahar, sitar, sursingaar, sarod and even the cello to various students. I think, as an art form, it can be played by many other instruments that were predominantly played in the Dhrupad genre earlier. It is a matter of understanding of the art form and then understanding the limitations of an instrument and its player and then bringing them together. One cannot rule out the fact that it is easier said than done.
Do you think the rigour and creativity required for this particular form of music can be encouraged among the younger generation of learners who seek quick fame and recognition?
Boundless rigour and intensity are the basic nature of this form. It cannot be conveyed in any other manner. At least it has to be taught in that manner for the student to understand its nature. After that it is for the student to maintain it. If he wishes to run after fame, it is his lookout. We cannot force it down his throat; after all, he is a grownup.
Does Dhrupad draw upon any ancient literature or texts?
It is believed that from the Sama Veda came chhand gayaki and from that Prabandha. One theory even suggests that it came from tribal music. But definitely it has existed since the 8th century AD. and with time other raagas and time cycles were added such as the dhamar. With more research the intricacies grew as is evident in Mansingh Tomar's Mankutuhal, Sangeet Samay Saar and other books which were a geo-historical proof of what was happening to music then and how they understood and related to it. So Slowly music moved from depiction of gods to defining emotions and even war or greatness of kings and emperors, beauty of nayikaas, aura of Sufis, and many more aspects of life and living. The main reason for this blossoming was an active dialogue between all the arts and this, in effect, led to the enrichment of Indian classical music. For the period especially between the 13th and the late 18th century, Dhrupad was an art form that enjoyed this privilege.
