|
|
The Indian subcontinent is the home of one of the finest traditions in the world. Tracing its roots back to the recitation of the ancient Sanskrit texts, the Vedas of the Vedic period in Indian history, the music is highly sophisticated, powerful, rich and varied. In traditional Hindu philosophy, the arts were considered to be sacred and a means of self-realisation. The first text on dance, drama and music was the Natyasastra, written in Sanskrit more than 2,000 years ago and attributed to the sage Bharatha. This described in detail a sophisticated theory of aesthetics based on the performing arts of dance (hence the style of Bharatnatyam), drama and music.
Geographically, the subcontinent (the term 'Indian music' applies to India, Pakistan, Bangladesh, Sri Lanka and Nepal) embraces a tremendous variety of environments from the world's highest mountains in the North, through desert to the lush green vegetation of and tropical beaches of the South. This variety is reflected in the different languages and social customs of the various communities. Yet strong common threads run through the multifarious styles and forms of music, giving a sense of homogeneity.
In its history, the subcontinent has been invaded by foreign forces from Central Asia, Iran (Persia), France, Portugal, and finally Britain. Nevertheless, the country had the capacity to absorb new ideas without destroying its own heritage. The major influence was of the Sufis. Although orthodox Islamic thought considered music unlawful, the growing Sufi movement in India in the 11th and 12th Centuries, which was ascetic and mystic in outlook, supported the indigenous view that music was a means of personal gnosis with of God, and allowed music to flourish in Muslim India. The music of the region was already highly developed by this time, with the concepts of raga (a melodic structure and the basis for improvisation in classical music) and tala (the rhythmic structure) firmly established in classical music. The Bhakti movement – spreading understanding of Hindu philosophy through the arts (amongst other things) - had already created a sympathetic atmosphere in India. The various influences created differences in style, rather than substantially changing the fundamental principles of Indian music. Such a difference was evident, for example, in the great Mughal durbars or courts, where the opulence and patronage of the Emperors created an exciting atmosphere in which the arts, including music and dance, flourished. The spiritual and contemplative aspects of music gave way to technique, virtuosity and competition.
In the last 50 years or so, an interesting feature of the music of the subcontinent has been the fact that musicians have now become part of a wider scene. Indian music is much in demand internationally, not only because there are Asian communities established all over the world, but also because the music is appreciated by a broad cross-section of society. Universities and colleges in Europe and the USA have set up departments of Indian music , and the subject may be studied at all levels.
Composers in the West have long been interested in the intricacies of Indian music and have tried to use some of the concepts – Messiaen is an excellent example. In the 1960s, the pop world was fascinated by the sounds of the sitar, tabla and hypnotic tanpura; many famous groups have used Indian instruments in their recordings and songwriters have been inspired by the ragas of Indian music. Even advertising agencies saw the possibilities of the music and used it to promote products through television and radio commercials. How did all this happen in the last 50 years?
It was Yehudi Menuhin (now Lord Menuhin), whose interest in and appreciation of Indian music led him to invite its two great maestros and ambassadors to visit the UK and USA during the mid 1950s – Pandit Ravi Shankar and Ustad Ali Akbar Khan. Pandit Ravi Shankar's name is synonymous with Indian music all over the world, and his contribution to its wider acceptance and appreciation is immeasurable. These visits paved the way for a whole host of fine artists to meet the growing demand all over the world. Indeed, it can be difficult for promoters in India to find particular artists to perform at their concerts because these artists now spend so much time abroad.
It is interesting that while Indian music was once influenced by foreign invaders, today the situation is reversed, and its performers travel from the subcontinent to appear at international festivals and venues all over the world. Organisations have been created to promote and tour artists and to educate and inform the public about India's cultural heritage. The Asian Music Circuit is Britain's premier touring company for music from all over Asia. Created in 1991, it is funded by The Arts Council of England and is a registered charity. It promotes and manages about 70-80 events a year around the country , and has arranged performances of Asian music at the world famous BBC Proms. The 'Indian Voices' summer school is but one element of the AMC's education programme, which seeks to create new opportunities for everyone to discover and understand the music of Asia.
As we approach the year 2000, what is in store for Indian music ? The great heritage has survived and evolved, because of its own inner resilience and strengths. Art can be seen as a form of knowledge, a window onto a world of human experience which the artist is particularly able to open for the audience to share. Indian music is unique in its ability to provide a platform for the individual to find expression. The desire to find and understand that world of intuition, of spirituality, will always drive both the performers and the audience not only to maintain, but to develop further the means of doing so. We hope that traditional thinking will be passed on and survive, especially through the fine system of teaching known as the guru-shishya parampara (teacher-pupil relationship). Music in India flourished because of the patronage of the Maharajahs, Emperors and landed gentry. However, since the courts faded away, such patronage has also disappeared. It now falls to ordinary citizens all around the world to play the same role as the great Maharajahs, and to take the wonderful musical heritage of the Indian subcontinent forward into the next Millennium through their support, understanding and patronage.
top
|
|
|
