इंटरव्यू
The world of Hindustani music needs to be open to one and all especially to the young among Dalits and the downtrodden: Pandit Vikash Maharaj
Pandit Vikash Maharaj, famed Sarod playerof the Banaras Gharana to Teesta Setalvad in an exclusive interview
The Prevalent Public Discourse of Aggressive Consumerism and Communalism can be countered by interventions of Hindustani Music and Art: Pandit Vikash Maharaj, Banaras
The fourteenth generation of musicians of the famed Banaras gharana, Pandit Vikash Mahara’s first revolutionary breakthrough came with his mother’s choice of musical instrument for him: the Afghani Sarod. Breaking from the family tradition that was renowned in table playing Pandit Vikash Maharaj had to face much flak and prejudice for his mother’s unorthodox and radical choice. He first trained in tabla but switched to the Afghani instrument Sarod, encouraged by his mother and trained by Guru Sri Rajesh Chandra Moitra of the renowned Maihar Senia gharana. The influence of these two esteemed Gharanas can be seen in his masterful interpretations and complex compositions. He has performed at music festivals around the globe to the delight of enthusiastic audiences.
Sarod seekhna, Sarod ko Hindustani sangeet mein shamil karna ek krantikari kadam tha: Pandit Vikash Maharaj
The Shehnai and Sarod were known as outsider, Iranian (Persian) or Afgani instruments and hence the resistance, Panditji told Teesta Setalvad in this interview that is one of a series jointly produced by Communalism Combat (www.sabrang.com) and www.hillele.org
Speaking of the internal politics, pulls and pressures that governs even the world of Hindustani music, the musical maestro spoke at length of his personal journey that has taken him to over 100 foreign universities since 1985, promoting an understanding of India and the Indian classical tradition. Panditji was even conferred the privilege of performing before the New Zealand Parliament to celebrate Diwali in 2008. Bestowed with honours abroad, national honous have so far eluded him. Only recently the Government of Uttar Pradesh announced that it will confer the prestigious Yash Bharati Award on him.
Even today the Dalit child is deliberately kept away from imparting of music by the classical Indian tradition and this needs to be remedied said the maestro in this interview. Sangeet baatne se badhta hai aur shikshan, samaanta, sangeet aur kala ko saath mein phailane ki avashyakta hai. (Music grows with imparting and education, culture, art and music need to go hand in hand).
Constitutional principles like equality and non discrimination can be successfully imparted through music and learning said the Sarod player bemoaning the fact that the Indian child does not have some instrument in her or his hands by age 6 or 8! Ever the experimentalist, he has performed with jazz greats as Herbie Hancock, John McLaughlin, John Handy and Paul Horn. Pandit Vikash Maharaj is also ambassador for the Banaras based PVCHR(People’s Vigilance Committee on Human Rights).
Azaan jo hai Raga Bhairavi aur Raga Lalit mein pukaara jaata hai aur Blues sangeet mein Raga Jog suna jaa sakta hai, explained Panditji in this fascinating exploration.
Panditji belongs to a family of India’s great performers and teachers, his grandfather Pandit Bade Ramdas ji, father Pandit Nanhku Maharaj and maternal uncle Padma Vibhushan Pandit Kishan Maharaj, his rendition of the sarod reflects a combination of swar (tone) and laya (rhythm). Sarod is a rare instrument within the classical tradition of India, and has been brought into recognition as a classical concert instrument thanks to maestros like Ustad Amjad Ali Khan, Ustad Ali Akbar Khan and Pandit Vikash Maharaj.
He and his son, Prabhash were among the last to meet with Shehnai maestro Bismillah Khan minutes before he died in the early hours of August 21, 2006. Even frail and weak, the Bharat Ratna awardee had sung verses to his preciousGanga Mai as Panditji and his son visited him. Pandit Vikash Maharasj recalls those final moments in this interview.
The Prevalent Public Discourse of Aggressive Consumerism and Communalism can be countered by interventions of Hindustani Music and Art: Pandit Vikash Maharaj, Banaras
Sangeetkar ko na jaat- paat, na unch-neech ki baat karni chahiye:Pandit Vikash Maharaj
The fourteenth generation of musicians of the famed Banaras gharana, Pandit Vikash Mahara’s first revolutionary breakthrough came with his mother’s choice of musical instrument for him: the Afghani Sarod. Breaking from the family tradition that was renowned in table playing Pandit Vikash Maharaj had to face much flak and prejudice for his mother’s unorthodox and radical choice. He first trained in tabla but switched to the Afghani instrument Sarod, encouraged by his mother and trained by Guru Sri Rajesh Chandra Moitra of the renowned Maihar Senia gharana. The influence of these two esteemed Gharanas can be seen in his masterful interpretations and complex compositions. He has performed at music festivals around the globe to the delight of enthusiastic audiences.
Sarod seekhna, Sarod ko Hindustani sangeet mein shamil karna ek krantikari kadam tha: Pandit Vikash Maharaj
The Shehnai and Sarod were known as outsider, Iranian (Persian) or Afgani instruments and hence the resistance, Panditji told Teesta Setalvad in this interview that is one of a series jointly produced by Communalism Combat (www.sabrang.com) and www.hillele.org
Speaking of the internal politics, pulls and pressures that governs even the world of Hindustani music, the musical maestro spoke at length of his personal journey that has taken him to over 100 foreign universities since 1985, promoting an understanding of India and the Indian classical tradition. Panditji was even conferred the privilege of performing before the New Zealand Parliament to celebrate Diwali in 2008. Bestowed with honours abroad, national honous have so far eluded him. Only recently the Government of Uttar Pradesh announced that it will confer the prestigious Yash Bharati Award on him.
Even today the Dalit child is deliberately kept away from imparting of music by the classical Indian tradition and this needs to be remedied said the maestro in this interview. Sangeet baatne se badhta hai aur shikshan, samaanta, sangeet aur kala ko saath mein phailane ki avashyakta hai. (Music grows with imparting and education, culture, art and music need to go hand in hand).
Constitutional principles like equality and non discrimination can be successfully imparted through music and learning said the Sarod player bemoaning the fact that the Indian child does not have some instrument in her or his hands by age 6 or 8! Ever the experimentalist, he has performed with jazz greats as Herbie Hancock, John McLaughlin, John Handy and Paul Horn. Pandit Vikash Maharaj is also ambassador for the Banaras based PVCHR(People’s Vigilance Committee on Human Rights).
Azaan jo hai Raga Bhairavi aur Raga Lalit mein pukaara jaata hai aur Blues sangeet mein Raga Jog suna jaa sakta hai, explained Panditji in this fascinating exploration.
Panditji belongs to a family of India’s great performers and teachers, his grandfather Pandit Bade Ramdas ji, father Pandit Nanhku Maharaj and maternal uncle Padma Vibhushan Pandit Kishan Maharaj, his rendition of the sarod reflects a combination of swar (tone) and laya (rhythm). Sarod is a rare instrument within the classical tradition of India, and has been brought into recognition as a classical concert instrument thanks to maestros like Ustad Amjad Ali Khan, Ustad Ali Akbar Khan and Pandit Vikash Maharaj.
He and his son, Prabhash were among the last to meet with Shehnai maestro Bismillah Khan minutes before he died in the early hours of August 21, 2006. Even frail and weak, the Bharat Ratna awardee had sung verses to his preciousGanga Mai as Panditji and his son visited him. Pandit Vikash Maharasj recalls those final moments in this interview.