‘There is no short-cut in classical music’

(An interview with Dr N Rajam published in The Hitavada recently.)

“ITS GOOD to see youngsters taking interest in classical music. I have students worldwide, which reveals that Indian Classical Music touches hearts surpassing all the boundaries,” said Violin maestro Padma Shree Dr N Rajam while speaking exclusively with The Hitavada, after her spellbound performance at Platinum Hall BRA Association, during the concluding session of SPIC-MACAY’s West Zone Covention on Sunday.
Dr Rajam, introduced ‘Khayal Gayaki Ang’ on the violin with such consummate artistry that most musicians, particularly violinist were stunned at the results.

“Earlier, the violin was mainly the supportive instrument and people used to play it in a technical way. The Gayaki Ang is more like singing a song, it includes human emotions and sentiments,” she said. It was proved earlier through her performance, when the words of Gaud Malhar ‘Barso Badariya Sawan Ki,’ could easily be deciphered by everyone. As she played on, the connoisseurs hummed the tune, enjoying the unique experience of becoming one with the artist across the footlight barrier.
She started learning violin in Karnatik style from her violinist father Narayan Iyer at the age of four, later turned towards Hindusthani music uder the gudance of L R Kelkar. “Karnatik Music, is a different flavour of Indian Classical music, which makes it richer,” said Dr Rajan, who have done Ph D on ‘Comparative study of the Musical System of Northern and southern India.’
She was performing in the city after years. “Its nice to peform for children, I always like it” she said. When asked about the increasing craze of reality shows, she said, “I dont watch the reality shows, there is nothing promising in such shows.”
Dr Rajam has produced many talented students, including her daughter Dr Sangeeta Shankar, Kala Ramnath, Dr V Balaji, Dr Swarna Khuntia and several other young violinists of the present time. “Aspiring students should learn music with devotion, and hardwork. There is no short-cut available in Classical Music,” her message to youths.

(All Pictures by The Hitavada Photo-journalist Satish Raut)

Teejan Bai: Hers is the story of ultimate struggle...

(This interview of Teejan Bai was prior appeared in the Hitavada)

ONCE SHE was ostracised by her community for singing Pandavani, being a woman. Once, she had to built her small hut herself and had to borrow food from neighbours. None of her three marriages succeeded due to the stubborn attitude of the society towards her art. But, in spite of all the obstacles, she never left her singing. And today, Padma Bhushan Dr Teejan Bai is cultural ambassador of India. The same Pardhi tribe of Chhattisgarh, to which she belongs, respects her as an icon. The queen of ‘Pandavani’ was in Nagpur on Saturday (July 12), when I caught her exclusively after enthralling performance in SPIC MACAY West Zone Convention at B R A Mundley School auditorium.

“Struggle was obvious, as I selected a different path,” said Teejan Bai, who heard her maternal grandfather, Brijlal Paradhi, recite Mahabharata written by Chattisgarhi writer, Sabal Singh Chauhan. Young Teejan instantly took a liking for it and soon memorised much of it. She was formally trained under Umed Singh Deshmukh.

Her real struggle began when she selected the Kapalik shaili (style) of ’Pandavani’ which was till then, a male bastion. At the age of 13, she gave her first public performance in Chandrakhuri village (Durg) for Rs 10. Since then, Teejan Bai performs in standing, sings out loud in her typical guttural voice, and unique enthusiasm. Today, she is the most renowned singer of this style.

“I have no complaints about anyone today. People all over the world showered their love, blessings on me, which values to me a lot than the hatred from a tribe for a few years,” said Teejan Bai, who is busy in passing on her singing to the younger generation. “I have about 150 students all over the world. Ritu Verma, Indu Thakur, Meena Sahu and several others are gaining popularity these days.”

Teejan Bai said that the folk is our oldest cultural heritage, and we must preserve it for next generations. “For that, I try to visit more and more schools. It’s pleasant to perform for students,” she said stressing on the need of a joint effort for this. On the concluding note, she delivered her guru mantra for upcoming artists -- “Add heart to your efforts, and co-operate with all, you will win!”

This is the report of Teejan Bai's performance at SPIC MACAY's convention at Nagpur on Saturday (July 11) evening.
The epic re-told in different manner

THE performance of Pandvani icon Teejan Bai gave a folk touch to the SPIC MACAY’s West Zone Convention on Saturday evening. The audience, mostly comprised of school students experienced a different beat at Platinum Hall of BRA Association.

Padma Bhushan Dr Teejan Bai’s rule began right from her entry in her trademark Chhattisgarhi attire. Her unique style of interracting with the audience, adding a few modern words in her speech, and offering critique on current happenings won the hearts of the audience. On request of a youth, she started explaining the message given by Lord Shrikrishna Arjuna on Kuru Kshetra. As the story progressed, the performance became more intense. With added dance movements, an element of surprise was also used. Later, her ‘Tambura’ became her only prop during the performance. Sometimes she used it to personify a gada, mace of Arjun, or at times his bow or chariot to play various characters with effective ease and candour.
Teejan Bai was accompanied by her team-mates Keshav Thakur (Vocal), Safindas Manukpur (Harmonium), Keval Deshmukh (Tabla), Narottam Netam (Dholak), Khemlal Netam (Manzira), and Tukkaram Thakur (Benjo.) At the outset, Prabhakar Mundle, Chairman of B R Mundle Trust and his wife enlighted the traditional lamp. Komal Jain gave a brief introduction of the performer while Kona Roy Chaudhari, Principal of Centre Point School, Katol Road, feted Teejan Bai and all her crue at the end. Founder of SPIC-MACAY Dr Kiran Seth, Nagpur Chapter head Dr Neeta Kulkarni, Secretary Ravi Satfale and others worked hard.



(This is the report of Teejan Bai's performance at IMA Hall, Nagpur. This performance was specially for the children of Ira International School, Nagpur)
When Gen-X tunes in to folk flavour

A FERVENT wait, a warm reception, untainted delight, magical merriment, and a revelation to cherish for a lifetime and of course, spellbinding Pandvani! Every student of Ira International School experienced this on Monday morning at the jam-packed IMA Hall, where Pandvani Queen Padma Vibhushan Dr Teejan Bai performed exclusively for them. Above 500 students, who rushed in ten school buses to IMA Hall from their school at Butibori, were left awestruck by the lively narration of ‘Draupadi Swayamvar’ by Teejan Bai and her troupe.

The rhythm of folk music captivated the young minds right from the start as these representatives of Gen-X - used to the sounds of DJs, multimedia effects, electronic instruments, and digital sound tracks - tuned in to the Dholak, Tabla, Harmonium, Manzira and Banjo in no time. The power of Indian folk music to transcend the barriers of age and time was proved when many students expressed that though the language was a little difficult to grasp, they understood the sequences and enjoyed the show.

Teejan Bai selected the ‘Draupadi Swayamvar’ episode after noticing a large number of girls in the auditorium. She explained some part of this Chhattisgarhi poetic form in Hindi for the convenience of students. Children were amazed at Teejan Bai’s energy, dance movements, ease, candour, the use of ‘Tambura’ to personify a mace or a bow, or Arjun’s chariot, and rounds of applause echoed round the auditorium several times during the performance.

Fortified with the usual accompaniments of popcorn, chips and chocolates, the students soon got engrossed in the tale that enfolded through Teejan Bai’s hypnotic voice. Finally, when the students were leaving the auditorium, cherishing the lifetime experience, Teejan Bai’s words, “Ye hamare desh ki Sanskriti hai jo bachcho ne sawarni hai…”, struck a chord both with the children and teachers alike.

At the outset, Principal of Ira International School, Reena Dargan welcomed Teejan Bai and her troupe followed by fine recital of school prayer by the students.
Later, the performers were felicitated. Keshav Thakur (Vocal), Safindas Manukpur (Harmonium), Keval Deshmukh (Tabla), Narottam Netam (Dholak), Khemlal Netam (Manzira), and Tukkaram Thakur (Banjo) accompanied Teejan Bai. The performance was the presentation of SPIC-MACAY, Nagpur Chapter.


(All Pictures by The Hitavada photo-journalist Satish Raut)

FLUTE VETERAN Pandit Ronu Majumdar presented eternal Ahir Bhairav and entertaining pahadi dhun on Saturday (July 12) at BRA Mundle Association’s Platinum Jubilee Hall to mark the day-two of SPIC MACAY’s west zone convention.



Explaining the importance of time conception behind the formation of ragas, Mujumdar said, "The sacred moments of early morning should be celebrated with decent raga like Ahir Bhairav." He started with aalap in madra saptak (low octave) and turned to madhya (medium) and taar saptaks (high octave.) He presented Ahir Bhairav in Zaptal and Teental.

Majumdar was accompanied by Pandit Ramkumar Mishra on tabla and Mukul Lekurwar on flute. In 10-minutes time, left after his performance, Majumdar presented a pahadi dhun, which is the original folk form of the flute. This simpler form directly related with the audience. During last few minutes, he answered the queries of the young students during an interactive session. Majumdar praised the effort done by SPIC MACAY and appealed the young generation to preserve India’s cultural heritage.

At the outset, Majumdar inaugurated the morning session by lighting the traditional lamp. Ratnakar Gore, head of the physics department of Uttar Maharashtra University, felicitated all performers at the end. Rumona Badar of SPIC MACAY’s Nagpur chapter introduced guests and proposed a vote of thanks

(All Pictures by the Hitavada Photo-journalist Satish Raut)

Striking strings of hearts

(This interview of Pt Shivkumar Sharma was published in The Hitavada on July 12, 2008)

LOOK back in time, fifty years ago the name ‘Santoor’ was not known outside the area of Kashmir and nobody had seen this instrument. And when he started performing, it’s nothing short of a miracle. Santoor and Pandit Shivkumar Sharma become the synonyms.
“According to me, music is not for entertainment. It is the generating force behind the life. The study of Indian classical music is a meditation. It is our heritage. The new generation should strive to preserve it,” said Panditji while speaking with The Hitavada after his performance at B R A Mundley High School Auditorium on Friday July 11. The programme was organised by SPIC-MACAY organisation for young students. Panditji spoke in brief about his musical journey, present scenario of Classical Music and on Nagpur. Here is the treat for all classical music crazies! :

His father Pandit Uma Datta Sharma, who was his first Guru, passed on Santoor to Shivkumar with the responsibility of establishing it on the concert platform.
“Whatever I am today, is because of my Gurus. Indeed, the music is the thing we have to learn from Guru. It takes time to acquire fineness. Unfortunately, the new generation lacks this patience,” he lamented.
On his worldwide popularity, Sharma said, the music is one all over the world. “Only notations differ. The language of heart is same.” Yet, Indian classical music is supreme. “Our Ragas relate to life, Nature and sentiments, which makes makes it best!” About the city, he said, “Having students here, I always like to perform.”
Fir Mulaqat Hogi, he said, in the end with which, wonderful Maruvihar, he played earlier resumed in mind.

Maestro relives the legend of Santoor

(This is the report of his concert held on Friday July 11 at Nagpur.)


Santoor maestro Pandit Shivkumar Sharma’s pleasant performance filled the hearts of Nagpur audience with spiritual satisfaction on Friday evening. He gave the inaugural performance of the West Zone Convention of SPIC-MACAY organisation at BRA Mundle School Auditorium. Panditji presented a wonderful Maruvihar in front of the audience, mostly comprised of youngsters. The question-answer session with school students held at the end of the performance revealed various aspects of Panditji’s personality.
He stepped in with shining white Kurta, the same coloured shawl and his trademark curly white hair amongst the laud applause of orange city audience. As the programme was already late due to additional load-shedding, Panditji started tuning his santoor without wasting time. “You all are waiting since long? Thak gaye kya?,” he asked and “No,” was the spontanious reply of the audience.
Panditji started with Raag Maruvihar’s aalap to made everyone familiar with the tune of his santoor. Later, the beat of the performance was formed in Jor and finally, the fast track version of the aalap enthralled the audience. With Pandit Ramkumar Mishra on tabla, and Walmik Dhande on Tanpura, Pandit ji presented Raag Maruvihar firstly in Roopak taal and then in Trital. The hour-long presentation created the spiritual atmosphere and everybody was bound to clap when Panditji hit the concluding note.

The performance was the first in the series of cultural events to be organised by SPIC-MACAY. (Society for Promotion of Indian Classical Music and Culture Amongst Youth), an international organisation’s Nagpur city chapter. At the outset, Dr Kiran Seth, Founder of the organisation and his mother Teji Seth was welcomed and felicitated by local chapter members. The degnitaries including Group captain Mujumdar and Om Prakash Prajapati were also feted. Dr Seth delivered the inaugural speech and guests elighted the traditional lamp to formally inaugurate the convention. Sakhi and Ridhi convened the programme. Ravi Satfale, Dr Nisha Kulkarni and others worked hard for the success of the programme.



(All Photos by The Hitavada Photo-journalist Anil Futane)

A year at ‘The Hitavada’

It’s a year passed since I joined The Hitavada. This year was full of excitement, novelty, experiences, and anxiety. The year was full of changes too as I got a chance to work on Jabalpur Desk, Bussiness Desk (even if only for a week) and finally Nagpur City Line Desk of The signature English daily of central India. The year taught me a lot. Gave me many things. It moved me a step forward to be able to face the challenges in this new phase of life. The job anniversary would be the best day to re-view this journey. This would be the best moment to say thanks to all seniors, and colleagues those helped me a lot not only to survive but also to prosper in this altogether different environment.


Joining The Hitavada a year before was like a dream come true for me. Hailing from a small town of Vidarbha, I was completely unaware about the corporate culture, metro manners, and even do not know how to speak good English. Even today, I do not know much of these things, but this institution is indeed a family, which, when accepts you, adjusts with you and all your limitations. Actually, this is due to the accepted wisdom of the head of this family, Mr. Vijay Phanshikar, Editor. Phanshikar sir strongly believes on positive thinking. He notices plus points in you and make you realize them. He praises the good things you did open heartedly and encourages you to do better, which is the best thing. Right from the day one, he let me feel relaxed in the entirely novel circumstances. Phanshikar sir’s kind, affectionate and sensible attitude, his knowledge, his mastery over each and every sector of the business including editing, page-making, cutting, pasting, printing, marketing, survey and advertising and many more make him a perfect man to lead the institution. He is the leader, because of whom The Hitavada survived in adverse conditions. Not only survived, but also burgeoned, and emerged as a signature English daily of central India.


I joined on July 9, six days later than my batch mates – Gaurav Lakhe and Juhi Meshram did. When I joined, they were quiet familiar with the work, especially, Gaurav. We used to sit on sports desk during the day hours to make the practice pages. On day one, In-charge of School Projects of The Hitavada, Prakash Chilkapure introduced me to Tanveer. She told me a few basic things about editorial discipline of the Hitavada. That was the start of my training. Since then, I was introduced to various aspects of the work. I consider myself fortunate that I got sport desk for basic training. The Hitavada Sports Desk is probably the best unit in entire sections of the paper. Under the leadership of Assistant Editor Rahul Dixit, the sports desk has experts like Principal Correspondents Paritosh Pramanik, Roland Lanslot, and Senior Sub-editor Anupam Soni. All these have keen interest in sports activities and excellent fineness in attractive page making. Their understanding, efficiency, and speed together make them the best team. I used to sit behind Paritosh sir and Anupam sir during my training and watch their way to work. It was like watching a film in fast forward motion. In spite of continuous effort to understand which keys and shortcuts these two used for particular application, I never got the key myself. Finally, I used to ask one of them the key. Still, I do the same. I sit behind them, whenever I got the time and ask them a few new things.


After a weeklong training on sports desk, Deputy Editor Subhash Deopujari shifted me to Jabalpur Desk for practical work. The Jabalpur desk is one of the three regional desks of the newspapers. (The other two are Raipur and Vidarbha desks) The desk has the responsibility of the two regional supplements ‘MP Line’ (For readers in Madhya Pradesh) and Jabalpur City Line (for readers in Jabalpur) and an additional work of Bhopal Bureau. When I joined Jabalpur Desk, it was a team of seven working under the leadership of Chief Sub Editor Nikhil Dixit and Chief Sub Editor Ishani Pankule. Senior Sub Editor Hitesh Limachia, Sub Editors Ajay Udar, Nitisha Jain, Megha Sahu and Farina Salim were my seniors. The work in regional desks is completely different from sports or the main desk. Here, reporters send news matter and photos from interiors of Katni, Chhindawara, Balaghat, Seoni and other districts of Madhya Pradesh to Jabalpur Bureau. Here, Resident Editor Anshuman Bhargav, Chief Reporter Piyush Shrivastava and their team comprising of Ashish Rajput, Shivanjali Verma, ASK Dasgupta, Natasha Gyani, Namita Pant, and others manage this stuff and forward it to subbing or copy desk at Nagpur via internet. At Nagpur, sub-editors have to work hard to enhance the quality of the language of the news substance.


The experienced seniors Nikhil sir, Ishani Maam and Hitesh Sir taught me a lot during my stay on Jabalpur Desk. Here I met Ishani Ma’am who can guide (and would guide) me for my entire career. In one word, she is perfectionist. Her mastery over each form of the work, her temperament, and her attitude together make her an ideal journalist, a perfect senior, and the best friend. Here again, I consider myself fortunate that I got Jabalpur desk and the guidance of Ishani Ma’am during my initial days. I was transferred to Nagpur City Line desk in order to assist the reporting team after eight months on Jabalpur Desk. However, I miss the guidance of Jabalpur desk and I strongly believe that if I were completed a year there, my language, writing skills and reporting skills would be better than that of today.


After completing about four months at Jabalpur desk, I was selected to assist Business desk in making pages due to the staff-crunch. Here Prashant Dongre, the lively personality, leads the desk with experienced reporters like Rajiv Ranjan Singh and Rohinikat Matey. Pankaj Mohod, Avinash Iyer, Milind Dantale, and GK sir (I still do not know his real name, as everyone calls him GK Sir) assist in page making. I was here hardly for a week, but it was a refreshing experience. I became familiar with the new short-forms in finance and banking sector, introduced to several new terms, and learned the different kind of page making.


Most exciting thing on business desk is that we have to show our pages to the Executive Editor Mr Alok Tiwari for corrections! Alok sir is very particular for perfection. He personally is man of wisdom, an ideal proficient, and a master of his business. He speaks clear-cut, straight forward, and to the point. These qualities reveal through his column ‘Personal View’ in Sunday Hitavada. Like every junior, I was excited, rather scared when I went to him with my page. Alok sir never raises his voice, never uses slang, never talks in rough manner; rather he is a perfect ‘gentleman.’ He has an exceptional sense of humor. In spite of all this, it’s a tension, may be the ‘scare of respect’ which we call in Marathi, which never let me talk excess with him. I remember, some senior in the field of journalism stated me when my first byline story appeared in The Hitavada, “it’s most difficult to pass Mr Alok Tiwari’s test. If he praises your work, start believing that you really have guts!” I am still waiting for that moment.


I was restored to Jabalpur desk within a week as the staff crunch on business desk finished off. In April 2008, I was shifted to Nagpur City Line; the signature brand of The Hitavada, directly connected to the people which in true sense, completes the slogan ‘The People’s Paper.’ In City Line, we try to cover all important event, achievements, and news in Nagpur city. Being a second capital of Maharashtra and the centre point of India, Nagpur is a happening city. The Reporting team, works under the leadership of City Editor Rahul Pande, has experienced skilled hands. Shirish Borkar, Principal Correspondent handles crime beat with Kaushal Pandey. Ramesh alias Balasaheb or Tiger Marulkar handles Forest beat. Manish Soni handles Nagpur Municipal Corporation (NMC) beat. Kartik Lokhande handles political and other affairs. Vikas Vaidya and Ajay Mardikar handle University and education beat. Sagar Mohod works on Railway and Law beat. Rajendra Diwe handles science while Nandu Andhare, Sneha Telang and others work on general. City editor Rahul Pande is the able leader of this team. Rahul sir, who is a gold medalist in LLM examination, has a best knowledge of law and almost all fields. The reporting team of Nagpur City Line is probably the best team in all newspapers of the city. I feel proud to be associated with this team, though, not for the full time due to my deskwork. Being a sub-editor cum reporter expects both subbing and reporting from you. I am interested in subbing and page making as well as reporting, but I think, It would be unwise to stop subbing for reporting or reporting for subbing. In this year, the unforgettable days begin in April, when I joined subbing desk at City Line and Reporting team simultaneously. On my editorial desk, all are youngsters like me. Sanjay Ranade, Chief Sub Editor, is our chief while all of us are juniors. Geeta Wanjari, Priyanka Bakshi, Poonam Hande are a few months seniors to me, while Yamon Ganguly Shukla and Elina Nayak are a few months juniors. It was simply great to be a part of this team. I am enjoying each day, each moment with each appreciation and each mistake. We are learning day by day and I wish it would continue forever.


Due to the friendly and cooperative nature of all section heads here, I have developed quite a good rapport with most of them. Press Supervisor Khan Sir is one of these. Amol Deokar, who works in Photoshop section, is another. Khan Sir took me to the press to see the printing. He introduced me with many technical terms like cutting, pasting, and plate making. Avinash Kahu and Vivek Vate from advertising section, Ajay Raut, head of the billing section, and Sapate sir and his team of circulation section are worth mentionable names. Deputy editor Aasawari Shenolikar and her magazine desk team including Iffat Jahan, Tanveer Sheikh, and Archana Purohit become my good friends. Iffat Ma’am taught me basics of page making. Aasawari Ma’am guided several times while making reports, and with Archana, I enjoyed the The Hitavada Twinkle Club membership drive. With Tanveer, it’s a precious kind of friendship I share. The Raipur desk, which was my neighbor when I was on Jabalpur desk, is now like my home. Narendra Palkar, the desk head, is a energetic, understanding and skilled professional. His team comprising of Anubhav Dabir, Ujjwal Khopkar, Justin Jacob, Gaurav Lakhe, Kirti Melag, Rubina Sheikh and Humera Meryam is a great unit together. Humera Ma’am, being my senior in reporting, always inspired me to work on stories. Anubhav and Gaurav with others have become lifetime friends. Sumedha Mahorey, who left the Hitavada for her further studies, was also a great friend of mine.


The most responsible desk, the head desk is main desk. Here, Deputy Editor Subhash Deopujari, another perfectionist in the office, looks after the proceedings. Though, I did never worked on main desk, I have a good word with all seniors here including Subhash Sir, Anil Rotkar, Virag Pachpore, Chandana Roy, Paritosh Vinze; and all friends including Hannah Sharique, Rahul Gawande, Dharini, Panchali and others. In Vidarbha desk, Anjaya Anaparthy is my good friend. In Systems, Ankit, Milind, Amit and Sachin are friends. During the cricket matches of SJAN, National Bussiness Manager of the Hitavada Susheem Koley, and others started knowing me. I don’t know the top most bosses like Managing Parter and General Manager Rajendra Purohit and Managing Editor Banwarilal Purohit know me or not, but I am sure that the way they manage the newspaper is really appreciable. I do not have experience of any other management, or something, but I must say that I enjoy each moment in this year, thanks to the full freedom, and timely good stipend given by the attentive, sensible management. The year passed was full of excitement, and hope the excitement would double in year two!

'Audience should support Marathi films

MARATHI audience should go to cinema halls and watch Marathi films to encourage the young talent in the industry. We have new concepts, directors and producers ready to handle off-beat themes. Due support by the audience would open new horizons for our films,” said Mangesh Dhakde, who composed the music of the recent super-hit Marathi film ‘Valu.’

Mangesh, son of Surmani Prabhakar Dhakde, a veteran musician of the city, was speaking to The Hitavada on a recent visit to his hometown. After learning basic lessons of music till Sangeet Visharad from his father, Mangesh joined Film and Television Institute, Pune, for formal education of Sound Engineering.

“Sound engineering is completely different from music composition and singing. A sound engineer handles technical side of the film including recording, mixing, and dubbing,” said Mangesh, who received an offer of ‘Valu’ as soon as he completed his final year of sound engineering due to his flair in music composition.
“Valu’s director Umesh Kulkarni is my friend, who called me for his film. It was a learning experience of modern-time Marathi Cinema. We are the team of youngsters who work hard to present off-beat themes,” expressed Mangesh.

Mangesh said, there is ample scope for Vidarbha talent in the film industry and welcomed the city youngsters to Mumbai. He also added, the formal education and technical perfection is must to start struggle in the industry. Mangesh is working on several national and international projects other than a few Marathi films. “I am working on an album of ‘Sufi’ songs in which compositions of Bullesha, Mirabai and several other legends would be involved.”

His father, Surmani Prabhakar Dhakde is well-known for violin in the region, but Mangesh enjoys the synthesizer more. He said that he would love to work with Suresh Wadkar and Hariharan while his dream project is to work with legendary Sarangi artist Ustad Sultan Khan. Remarkably, a tele-film made by Mangesh and his team as their university project was the official entry from India for International Students’ Oscar award. A commerce
graduate from Sindhu Mahavidyalaya,

Magesh said, he misses Nagpur all the time in Mumbai and Pune. He expressed concern about limited courses on performing art in Vidarbha universities. “If our universities provide better facilities in performing art and fine art fields, our talent would get the recognition for sure.”

For youngsters who are about to join the film industry, Magesh has a special advice: “There is career in this field. But you have to remain student all the time. Talented guys who are ready to learn would get a fantastic atmosphere in Marathi industry.”

‘Add patience to talent, you will win’

“A MARATHI artist will never compromise with his pride and honour. However, in the Hindi film industry, you have to put up your respect for sale to gain popularity and opportunities. That is why, several legendary Marathi musicians have smaller career-spans in the Hindi film industry,” rues veteran Marathi music director Ashok Patki, explaining his limited success in Bollywood. Patki, who has over 60 Marathi films, 250 Marathi dramas, over 250 Marathi serials and a record break 5000 ad jingles to his credit, was in the city to participate in a musical concert, ‘Radha Hi Bawari.’ He spoke at length on his musical journey, current music scenario, reality shows, and future of Marathi music industry, even as he went on with his rehearsal with local artists, intermittently answering questions and playing his harmonium.
With timeless melodies like ‘Mile Sur Mera Tumhara’ and ‘Purab Se Surya Uga’ to his name, Patki’s ‘Zandu Balm,’ ‘Dhara oil,’ and ‘Vicco turmeric cream.’ jingles are on everybody’s lips. “I like to work on jingles. It is more challenging. We get not more than 10 to 15 seconds to make a perfect impact.” Patki’s jingles are a part of our day-to-day life and many of us can recite them word to word. However, very few of us know the man behind these lovable tunes. This is because he has shunned publicity all this while.
“After a 40-year-long journey in the industry, I feel satisfied as my hard work has started showing results at last. I believe that it takes a lot to be successful. Constant effort, patience, and enthusiasm!,” feels Patki, while complaining that the new generation lacks these qualities.
“They want everything instantly. They lack consistency and hard work. It is impossible to gain everything through a single reality show or talent hunt.” According to him, reality shows are overrated and have been given undue importance. “No show can produce a perfect singer as it takes time to get perfection. The most irritating factor is SMS voting by which real talent remains unnoticed,” he states.
Surprisingly, Patki is not trained in Indian classical music. His long stint as assistant to Pt Jitendra Abhisheki, the legend of classical music, gives his music the ‘classical touch.’ “A practical work experience with Panditji taught me much more that a formal education,” he admits humbly.
Today, reputed names in classical music, including Pt Ajit Kadkade, Prabhakar Karekar and Shaunak Abhisheki, sing under his guidance.
“It is important to learn classical, but basically music is God’s gift. You have to have something in you before you start polishing the skill,” he says.
Patki is very optimistic about the new era Marathi cinema. The music of his recent film, ‘Sawali’ is a super-hit even though all compositions are based on classical music. “New concepts in the Marathi film industry are providing musicians a ground to experiment. This is why we are producing different kind of music in Marathi these days,” he says.
Apart from his full-time passion, Patki loves to travel. Recently, he also successfully tried his hand at lyric writing. His composition ‘Radha hi Bawari’ is another all-time hit. Words and tunes are equally important for a perfect composition. “Better words arranged to better tune makes the best song,” he says.
A veteran in his field, Patki sees huge talent in youngsters and advises them to wait patiently for their turn. “If you really have talent, they will notice you. They have to, if you work with passion and dedication,” is his message to young aspirants.

‘Jhadipatti’ flourishes despite commercial onslaught

Pre-published in The Hitavada's 6 March issue


DUE TO increasing impact of satellite TV and booming multiplexes, theatre is threatening to become history in metros. Even plays featuring popular celebrities hardly succeed in garnering a decent audience. In such circumstances, the traditional art movement, Jhadipatti (meaning ‘bush tract’), is still running full throttle. It has not only maintained its audience since decades, but has also succeeded in making and breaking records.
Recently, a Marathi drama, Atmahatya, produced by Shri Venkatesh Natya Mandal, Navargaon, collected Rs 4 lakh for charity in a single show staged at village Vashikora in Chandrapur district on March 14.
“This is due to people’s passion for drama. It was a pleasant surprise for all of us,” reacted Sadanand Borkar, producer of the drama, and head of Venkatesh Natya Mandal, speaking exclusively to The Hitavada over the telephone.
Borkar spoke at length on the Jhadipatti drama movement, present mainstream drama, and Maharashtra Government’s complete disregard towards Jhadipatti.
“Atmahatya is based on the issue of farmers’ suicides in Vidarbha. We expected about 1,000 drama lovers to be there for the show as the figure of advance booking was about Rs 1 lakh, but spot booking doubled the figure. Finally, organisers reshuffled the seating arrangement, and we performed in the open. The show was for charity, so we all are happy to collect a decent (!) amount,” said Borkar.
During the current season, which ended on March 29, Borkar’s Venkatesh Natya Mandal staged total 78 shows of two plays Atmahatya and Maze Kunku Mich Pusale. “All shows were house-full. Collection of Rs 1 lakh or more is usual in one show. People’s love and artists’ dedication are the keys that keep our movement going,” said Borkar.
When Jhadipatti theatre is getting such an overwhelming response in rural areas, what can be wrong with mainstream theatre?
On this, Borkar said, “Jhadipatti movement is altogether different from mainstream theatre. The present professional scene is mostly about cheap humor while the amateur stage is suffering from poor response at the box office and from the audiences.
However, in Jhadipatti, we believe in conveying a message of social interest. Here, we try to involve all aspects of the drama with a social message, which directly touch the hearts of the audience.”
Borkar shared his experience that a huge gathering of thousands of people heard a long monologue on the evil of superstitions at the end of Maze Kunku Mich Pusale, in pin-drop silence. “This is how a drama is staged and watched in Jhadipatti,” he exulted.
Message for others!

We want nothing from Government but attention: Sadanand Borkar, Zadipatti Theatre Activist

JHADIPATTI theatre movement is facing utter disregard from the State Government since generations. “Government spends crores of rupees to encourage cultural activities, especially drama in the State. For amateur drama fests, it allots funds in lakhs while for professional stage, it gives financial assistance to producers. Unfortunately, there is nothing planned for the Jhadipatti movement,” expressed Sadanand Borkar.
Borkar shared an experience from the recent All India Marathi Natya Sammelan, which exposed the ignorance of the Government. During his speech at the Natya Sammelan, Chief Minister Vilasrao Deshmukh appealed to producers to produce plays with a message for farmers. He said, “we do not have a drama on farmers’ pathetic condition and nobody has written scripts on this subject.” This was the reaction when his group was staging the 50th show of Atmahatya at the same time in Jhadipatti, lamented Borkar.
His drama group is one of the oldest groups in Jhadipatti. They are planning to construct their own auditorium at Navargaon, of course without a single penny from the Government.
“We never demanded anything from the Government. Ours is a people’s movement and we are surviving since generations because of the people.”

The Eighth summer…

March is heading towards its end, which will begin the reign of the eighth summer of the century. Air is blowing warm and warmer with fleeting days and a well known ‘exam heat’ can be felt more easily now. Last year, during these days, I was preparing for my final year exam and this year too, getting ready for first year of MA. However, it is not the real feel of ‘exam heat.’ During college days, when a warm wave of air brings dry leaves of backyard neem to you, when instead of thick reference books, printed notes and guides start attracting you, and when the calendar starts showing the rounds you made around the dates of examination more vividly, you start feeling a real ‘exam heat.’ Friends, their study updates play a vital role in preparation of exam, which I am missing this year. The eighth summer is showing different days. I am away from home after all.
Summer is my all time favorite as after the examination, you get bigger days to enjoy, you get long evenings to stroll, you get sound sleeps under blinking stars, and you get bright early mornings to refresh you. Nowadays, more than vacation, summer is all about personality development camps, adventure camps and sports training camps. For students of class IX and XI, it is no more an enjoyment as their preparations for board examinations are in full flow during summer. Even for class XII students, who are appearing for engineering or medical pre-admission tests, summer is a season of studies. In this way, many ignore all offerings of summer and set their attention to scorching summer noon. Well, they all are unfortunate, who do not enjoy the flavor of this season.
Summer bells ring in mid-February and it start feeling with March. Now, wind flows more desperate and warm. After freezing winter, this warm sensation gives pleasure. If winter’s color is green, summer says hello, with yellow. Trees start shedding yellow leaves and the meadows start forming yellow carpets to welcome the brighter mood Sun. Sparrows’ search for a proper place for their nests becomes more restless. Now, cows prefer to rest under shadows instead of having a few last instants of winter’s greenery. Afternoons turn silent and evenings lively. During these summer evenings, I used to study in the backyard on one of the three big neems. It was so pleasant to behold the yellow, orange, red shades of sun when it sets. But in eighth summer, sun sets behind a multi-stored building. I search for a sparrow searching a place for nest, and a cow resting under a tree shedding yellow leaves. But I am unable to find the same here. After all, I am away from home.
Here summer reveals itself through covered faces of bike-riders, people walking in summer coats and roadside cold drink shops. Afternoons are not quite, and instead of twits of birds resting on trees, we get houses filled with sounds of air coolers. Someone hardly notices stars in the sky, as it is full of artificial lightings. This is different summer. The eighth summer.