Courtesans saved classical music

If we talk about music, it is not possible that the story of Tabla should be left behind. Today, the beats of tabla resonate not only in the country but all over the world. The number of Tabla students is continuously increasing. One is a better astronomer than the other. There are some of these which are considered milestones. One of these names is that of Pt. Sheetal Prasad Mishra. Pandit ji, born on January 21, 1947 in Darbhanga, Bihar, might not have thought that he would ever become a famous personality in the country and abroad. But the way he received training in tabla from his guru Kanthe Maharaj made him an excellent tabla expert.

After obtaining the degree of Sangeet Nipun, Talmani in Tabla and Pakhawaj from Sur Singar Sansad, Mumbai, after serving for a long time from lecturer to HOD in first Bhatkhande Music College and later Bhatkhande Music University, he is now retired from service, but his Tabla sadhana continues continuously. Even at this stage of his age, he definitely takes out time for Riyaz every day. When asked something, they get lost in the past. There is some hope and some disappointment in the eyes. I was working as a news editor in Dainik Vishvarta, Lucknow. Then one day, after a lot of effort, I got an opportunity to meet him at his residence in Indira Nagar. Highlights of the conversation with him on this occasion-

Question- During your time, there were brothels, mujras, courtesans, who were looked upon with respect. What happened that this genre of music became extinct?

Answer: It is true. There used to be connoisseurs of music, avid listeners and spectators. The listeners and viewers are still there, but circumstances and interests have changed. Even though the brothels have been destroyed today, their contribution to music can never be forgotten. The truth is that the courtesans kept the music alive. If she had not been there, our music would have been flourishing in foreign countries and we would have had to travel abroad to learn our own music.

Question: You say that courtesans saved music, then why were these brothels destroyed?

Answer- Due to circumstances. Courtesans were adept at both singing and dancing. For accompaniment he needed tabla players, Sarangi players etc. The whole gathering was gathered. There were times when courtesans were appreciators of the mujra, who used to go to the chambers to listen to the beautiful mujra and bandishes. There was no dearth of money with the courtesans, from which the courtesans earned their income. Other artists also found shelter in a way at his place.
But times changed and music lover Dhankuber could no longer live. It became difficult for him to reach the threshold of the courtesans’ chambers. In such a situation, courtesans also had to face financial crisis. There must be some means for livelihood. Under compulsion, the courtesans also started avoiding the Mujras. Under these circumstances, it was bound to happen one day.

Question- Apart from the tabla, among the Avandha instruments, there are many other instruments like Pakhawaj, Mridang, Khol, Naal, Nagara, then why only the tabla is becoming so popular.

Answer- No, it is not so. Every instrument has its own utility. Pakhavaj, Mridang and Khol are mainly instruments of devotional music. Yes, Pakhavaj is also used in Dhrupad, Dhamar and Kathak dances. These were mostly used in monasteries and temples. Now when the singing of bhajans in monasteries and temples was no longer prevalent, their practice also began to decline. Then tabla can be used in all genres of music. It is also easier to bring and carry it. Obviously, the popularity of tabla has increased due to these reasons, but the popularity of other non-musical instruments is also continuing along with it.

Question- You have played tabla in almost all the major forums and functions of the country, but where did you get the opportunity to go outside the country? Tell me a memory.

Answer- I have played tabla in Germany, Hong Kong, Paris, Sri Lanka, Nepal, Russia and London. I have got the opportunity to play tabla on almost all the major stages of the country. Once in Russia, when I came down from the stage after playing the Tabla, the people there were touching my fingers to see if I was wearing any rings etc. on my fingers due to which such a loud sound was coming out. I was astonished for a while, then showed him the magic of sound on the tabla separately without a mic. Only then did they believe.

Question- What is the difference between the lyrics of Tabla and Pakhawaj? Are all the same bands played on Pakhawaj, which are played on Tabla?

Answer: There is a difference between exhaust and thrust. There is a difference between words and letters. The lyrics on Pakhawaj are different and their output is different. Pakhavaj is mostly used in Dhrupad, Dhamar singing and Kathak dance, while Tabla is used in all genres.

Question: What future do you see for Indian classical music in the new generation?

Answer: The new kids seem very talented. Many of the children to whom I am giving free lessons in tabla playing are progressing very fast in this genre. See, it requires a lot of memory power and practice. I always remember one thing from my Guru: If you remember, you are prosperous, and if you forget, you are ruined. As far as building the future is concerned, this has to be considered by the government. Only when the government gives protection will music flourish, otherwise it will shrink. Question: Why have you not been awarded any Padma Award till now?

Question- Why have you not been awarded any Padma Award till now?

Answer- See, the biggest award is to receive praise from the audience and win their hearts. I have received honors like Sangeet Natak Akademi Award and Shane Awadh. As far as the Padma Award is concerned, it depends on the government, senior officials and the people sitting in their council. If I am considered worthy then I will definitely be awarded the Padma Award, but I will not submit any application for it.

When Zakir became a fan

Lost in the past, Pt. Shital Prasad Mishra narrates a memoir. Once there was a dance program of Pandit Birju Maharaj and Shaswati Sen in Mumbai. In this, Ustad Zakir Hussain was to play the tabla. There were no mobile phones at that time and no one was able to know Zakir Bhai’s location.

In such a situation, Birju Maharaj called the Principal of Bhatkhande, Shri Surendra Shankar Awasthi on phone and called me to Mumbai. I reached there but Zakir Bhai arrived a little before the programme. I was disappointed that now I would not get the opportunity to play Tabla. But Birju Maharaj said that it is okay, Zakir Bhai will play with Shaswati Sen and Sheetal ji will play with me. When the program of Shaswati Sen and Zakir Bhai was completed on the stage, I started taking out my tabla from the bag to accompany Birju Maharaj’s dance. Then Zakir Bhai said – Hey Maharaj, why are you taking out the tabla, we will take it out and then mix it. These are the mixed tablas kept, play them only. I really became a fan of Zakir Bhai. No musician gives his instrument to anyone, but Zakir Bhai gave me the opportunity to show my skills on his pair. (There are two pictures, one is of Pt. Shital Prasad Mishra, the other is of Pt. Sheetal Prasad Mishra training his grandsons. Also present is his son Pt. Bharat Mishra, who is the lecturer of Tabla at Bhatkhande Music University)