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Virasat festival celebrates cultural heritage in the lap of the mountains
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Ganesh Paran: When Pt Kishan Maharaj s Tabla Would Literally Sing The Praises Of Ganapati
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Sitar player Pt. Subhendra Rao at Swara Samrat Festival, 2021
Vocal, instrumental and dance performances by new and established artistes at the four-month long online Swara Samrat festival turned out to be a mixed bag
Listening to the four-month long online Swara Samrat festival (SSF) that concluded recently allowed one to note certain trends in Hindustani music that are increasingly gaining strength. The tradition of not repeating a raga previously performed at a festival is being ignored nowadays. At SSF, some ragas were repeated up to even three times.
There were 16 instrumental concerts (Hindustani), yet most of the instrumentalists chose not to highlight their instruments’ specific ‘baaj,’ preferring to follow the ‘gayaki ang’ with no ‘tantra baaj’. In format too, they played only aalap, no ‘jor’ and ‘jhala’, followed by vilambit gats rather than moving on to a fast-paced madhya laya composition. The listening experience is definitely compromised.
The Saptak festival stood out for its formidable line-up of artistes from across the globe
The world’s longest Hindustani music festival, Saptak, bravely went online last week. Featuring 34 concerts, spread over 13 days, the festival stood out for its laidback approach to the visuals. Unlike other festivals which insisted on uniformity and standardisation of presentation, down to the backdrop, quality levels of recording and sound, Saptak was remarkable in its “hands-off” decentralised broadcasts. Adding charm and an old-fashioned quaintness, one realised that to hear good music, one doesn’t really need the fancy settings and close-up shots. Founder of Saptak, sitarist Manju Mehta, said that the emphasis was only on the music.