Malini Awasthi shines a light on different strands of the secular culture that continues to live on through its music
The legends of Awadh need no introduction. The kind of art, culture and traditions that emerged out of a province has almost come to define an entire genre of music today. As an artiste from Awadh, who has grown up there and is recognised with it, Malini Awasthi’s muse came early to her.
“I have observed the music of Awadh I have spoken independently about the journey of it and how it has evolved over the years. Being classically trained and with an excess or passion for its folk music, I have also been blessed with the Ustad from Lucknow, Rahat Ali Khan saab as well. I have also been closely associated with mirasans, who went to different houses and sang for ceremonial functions, like childbirths, or weddings. I also went through some of the thumris of Wajid Ali Shah and so I thought that it was time that the journey of music of Awadh is separately seen by people in totality,” says Awasthi. In an effort to bring together all of Awadh’s heritage, Awasthi along with musicologist Yatindra Mishra, is bringing to Delhi Awadh ki Raushan Chauki. It will showcase the Awadhi heritage through music, stories, anecdotes and conversations.
“It is an interesting concept starting from Ram. Any boy who is born or is married, the importance of Ram is overwhelming in his life. He is the epitome of all the celebrations there. It sort of changed when Khusrau came in the 13th century from Delhi. He lived in Faizabad which was then capital of Awadh. He familiarised himself with the local dialect, Awadhi, and his sufiyana influence gave so many dimensions to the music of Awadh, starting from “Chaap Tilak to Mai Toh Piya se Naina Milayi”.
Then came Tulsidas who re-established Ram as the saviour of the society, and Ramcharit Manas became part of the popular culture. We also had the mirasans and tawaiifs later. Due to Wajid Ali Shah’s interest in dance, he wrote particular thumri songs for it. And we all know how Begum Akhtar who lived in Faizabad made ghazal ghazal. Later, the film music evolved due to composers like Madan Mohan, influenced by Awadhi dialect and music. So I thought I will put it all together, in one space, where I am going to talk as well as sing. The climate would be Awadh and film songs,” says Awasthi.
“We have picked a few factual stories, about how particular songs originated like the word bitiya, which is popular in songs as well as the dialect. There are also sohars, which when Hindus sing use Kaushalya and Ram and when Muslims sing use Nabi and Fatima, with the same compositions, which is very interesting. I always wonder what music would have been if not for Lucknow or Awadh. The rich traditions of mirasans and tawaiifs has resulted in numerous beautiful compositions in films as well. It is essentially about this evolution of music from Awadh, and the people who came, influenced and changed the musical scene of Awadh,” she adds.
But, folk, essentially has struggled a lot more than classical to gain a certain momentum in India. “People have been very biased against folk. They might be able to appreciate it superficially at the surface level but there are no long term plans to sustain folk traditions. Looking at how fast the world is changing, it is scary for certain instruments and folk traditions to continue,” she says.
The music of Awadh ranges from nautanki, dadra, thumri, ghazal, khayal, sohar, banna, mubaraqbadi, kajri, chaiti to name only a few. “They are all traditional folk form. Inspite of this step-motherly treatment given to folk, somebody needs to talk about it. A lot of literature has also originated here so it is time that we give respect to it and its artists. I just find myself to be the medium,” says Awasthi.
True to identity
She says that to embrace folk, one needs to embrace the lives of the people, sans which, there will be a lack in one’s sensibilities.
“Folk is more of a lifestyle and not just a stream of music. They are sung because you believe in them and only someone who believes in those traditions can do justice. My graduation in Sanskrit also helped me take myself back to my value system, which also improved my Hindi. Our Indianness, our traditions, were common and only the expressions were different.” Awasthi finds it sad that folk artistes haves been reduced to performance orientations. “Songs are a part of their lives. They were never meant to perform on the stage. There is a contrast in the sensibilities as well, to see them in artificial settings. They can never understand what is being sung. The 100 years preceding independence was one of the best phases of Indian music wherein everything evolved. Different people followed different streams of music, but it was inclusive. Post independence, people became extremely narrow minded about their art. As an artiste, I need to stay true to my identity.”
(“Awadh Ki Raushan Chauki” will be held at Kamani Auditorium on 26th October at 7p.m.)
source: http://www.thehindu.com / The Hindu / Home> Entertainment> Music / by Anuradha Vellat / October 26th, 2018
