A new biography describes how Ebrahim Alkazi, one of the most original and in uential directors, transformed Indian theatre
migrant from Saudi Arabia.
“Despite the fact that Alkazi was not an Indian by parentage, his sense of belonging to India only intensied over the years. His parents left for Karachi after Partition, but he remained in India. Also, I was named Uma; there was no question of Hindu and Muslim. My mother wore a bindi. You couldn’t tell that she is a Muslim or Khoja — those were dierent days, we grew up in a society, a family where there were no dierences. My father’s friends were Catholics, Muslims, and Hindus, no one was looking at anyone’s religion. We have to understand that as Indians we come from a rich past and the richness comes from it being syncretic,” she explains, adding that the book means to expose the younger generation to the fact that there was another way of life.
Love for literature
The book evolves with more nuanced citations of Alkazi’s artistic and academic endeavours, building on his younger days — his love for literature, yearning for an Indian identity which stands validated by a Parsi man while attending Gandhi’s Quit India rally, and his initiation into the world of theatre after meeting Sultan Padamsee (whose sister he later married). After
Sultan’s death, he leaves for London to study art but ends up enrolling for theatre at Royal Academy of Dramatic Art only to return to India later. “Alkazi, being the man of his time, was imbibing the art trends of ’40s, like Gesamptkunstwerks, where many art mediums such as poetry, painting, writing and theatre were being combined to make one total, integrated piece of art. You had Picasso and Henri Matisse designing theatre sets. So, when Alkazi came back to India, he invited M. F. Husain to design the set of his rst play Murder in the Cathedral. Then artists like Vasudeo S. Gaitonde and Akbar Padamsee designed sets for him too,” she adds.
Amal’s book tenders one more interesting aspect of Ebrahim’s disposition — of taking people along with him. He not only got his father to sponsor
Nissim Ezekiel’s trip to
London, but also had FN
Souza for a £atmate at his accommodation at
38 Lansdowne
Crescent. “He was always inviting artists from dierent elds to collaborate with him. This led him to conceive
Pt. Shankar Ghosh with Bickram ghosh and Tanmoy Bose. (1935-2016) was also known for his impeccable communication skills. He was trained under masters of three main tabla gharanas – Farrukhabad (Pt. Gyan Prakash Ghosh ), Punjab (Ustad Feroz Khan) and Lucknow (Pt. Sudharshan Adhikari.) Amongst his many students today are his son Bickram
Ghosh, Tanmoy Bose, Arup Chatterji, and Parimal Chakravorty.
Anaddha not only traces the history of tabla and its practitioners but also gives practical lessons on how to play, methods of practising layakari, drumming technique, and compositions of dierent gharanas.
The books are fascinating treasure troves of information such as the dierences in tabla terminology and why some gharanas refer to rhythm compositions as ‘rela’ while others call them ‘quaidas’.
The foreward sums it all up: “The information I have given in this book on Teen taal and Jhap taal is enough for students to play an hour-long lahara,” wrote Pt.
Shankar Ghosh.
The chapter on ‘sangat’ (means accompaniment) is a must read for tabla accompanists. It explains how to play for artistes belonging to dierent styles. The author lists three types of sangat — saath sangat, gun sangat and sawaal jawaab.
There is a full chapter dedicated to the ten aspects or prana of taal as enunciated by Narada in his Sangeet Makarand (approx. 12th century CE). The author explains that the Carnatic system of tala is based on one of these 10 aspects referred to as ‘anga’, and there are six kinds of ‘angas’. The chapter concludes with the author writing, “The practice of these 10 ‘pranas’ of taal has now almost fallen into disuse. However, I believe a proper study of these principles will add a new dimension to our music.”
Volume I also comprises an essay by Pt. Gyan Prakash Ghosh, guru of Pt. Shankar Ghosh, who makes a signicant point that the tabla is essentially a medium of vocal recitation, which on entering the eld of vocal music as a supportive instrument transformed into an attractive art of percussion music. He also emphasises the need to standardise and regulate the art form.
Volume 2 delves deep into the subject by tracing the origins of percussion instruments through written records from second century onwards. This leads to a study of laya, taal, pakhawaj gharanas, and tabla playing styles. Interestingly, the family tree of exponents of the Delhi, Lucknow Farrukhabad and Banaras gharanas also nd mention in the books.
Anaddha provides a valuable insight into the world of percussion and the philosophy that guides it. The book will help experts and young enthusiasts experience the joy of engaging with rhythm.