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COMPETITIVE
FESTIVALS IN INDIA
Competition
in any form leading to outwitting others and securing a
place of honour and envy has always remained a part of the
development of the human mind. In the middle ages we know
how even the great Moghul Durbar was not averse to the idea
of music competitions and we have been handed down the story
of famous duels between Tansen, the court musician of Akbar
the great, and Baiju Bawra, known for his higher approach
where, in place of the desire to outdo the other, he preferred
to treat music as a vehicle to uplift one's soul as well
as that of the audience participating in the event.
Classical
music, after the downfall of the Moghuls, was gradually
becoming a subject of contempt, though in small pockets,
it was still practised. During the early part of the present
century, middle class society took upon itself the task
for the propagation of Indian classical music which gradually
led to music competitions.
Music
competitions began to be held in many parts of India during
the thirties but the ones held in Allahabad had a special
attraction. These competitions were truly on an 'all India'
basis. Allahabad University and the Prayag Sangit Samiti,
Allahabad, held these competitions in their respective convocation
halls that were beautifully decorated, and there was a healthy
competition between the two organisations which were in
control of true lovers of music. The period of 1930 to 1945
can be rightly called the golden era of music competitions
in India and particularly Allahabad.
Students
of the age of 5 to 25 years, both boys and girls, participated
in these competitions on payment of a token fee which increased
with age group. The competitions held age-wise were for
boys and girls separately. In vocal music, competitions
were held for Dhrupad, Dhamar, Khyal and Thumri. In instrumental
sections, Sitar, Sarod, Violin and Flute were more popular
then Israj or Sarangi. Kathak held the forte in dance. Later
on, other forms of dance were also added. In percussion
sections, Tabla held sway over Pakhawaj. There were separate
sections for competitors of age below 10 years, 10 to 15
years and 15 to 20 years. The time allotted increased with
age and ranged from 5 minutes to 15 minutes for each competitor.
Along
with these regular competitions, a special competition for
students, who were non-professionals and were not radio-singers,
was held. The age limit was 25 years. There was no separate
section for boys or girls. This was the most prestigious
competition held in vocal music - Khyal, Instrumental, Tabla
and Kathak style of dance. The duration for each candidate
was 30 minutes. The competitor was also expected to sing,
play or dance the lighter side of his or her subject for
10 minutes.
A
few select number of Raags or Taals, generally not exceeding
3, were required to be prepared by the competitors and on
the day of the competition lots were drawn by eminent artists
and musicologists such as Prof. S N Ratanjankar, B R Deodhar,
Rajabhaiyya Mohan Lai and Jia Lai. No accompaniment except
Tabla was provided. All the participants were required to
render the same Raag or Taal and, as it was held openly,
there was no possibility of misjudgment. Audience reaction
was also taken into account.
Generally,
only competitors standing lst, 2nd and 3rd were given medals
or cups and a certificate and in a special competition,
only lst and 2nd prize-winners were awarded a cash prize.
But
the most important attraction to all the prize-winners was
a free pass to attend the music conference of 3 days that
followed the competition. The prize-winners would witness
the performances of artists from the nearest place to the
dias. This was indeed a great incentive to them. Competitors
from Bombay, Calcutta, Delhi, Patna, Jabalpur and many other
places participated. Those were not hard times and musicians
of rank used to come early to witness the competitions.
There was great enthusiasm all through and the event was
awaited upon by the whole city.
The
winners of the special competition were also given a chance
to participate in the music conference that followed the
competition. They would be given the first item in one of
the sittings. This was a great honour and was looked upon
with ravish. It was natural for such a winner to get many
invitations from various parts of the country.
Because
of various reasons it is not possible to hold the competition
every year but Prayag Sangit Samiti, Allahabad, holds it
after a lapse of two or three years in its convocation hall.
Competitors have to pay a nominal fee for each item of appearance.
But,
in the meanwhile music competitions at state level are now
being held on a yearly basis in various places in a particular
state and the regional prize winners are called to the state
Capital to appear for the final round. The regional competitions
are held with the help of music institutions like Allahabad
University. The finals are held in auditoriums owned by
the State Governments. The prize winners, lst and 2nd, are
awarded a handsome cash prize of Rs 1000/= and Rs. 500/=
respectively and books on music.
Similarly
such competitions are held by All India Radio to promote
music and the prize winners are enlisted to sing on radio
without appearing for audition tests.
Of
late, important business houses have started taking a keen
interest in such activities and the one that leads in such
activities is the Indian Tobacco Company of India. This
house runs a Research Academy in Calcutta which is doing
laudable work in searching for new talent and one of the
activities of this Organisation is to hold competitions
all over the country in vocal music alone. The prize winners
at all the Centres, about a dozen or so, gather in Calcutta
for the final round and a select few are offered a 10 year
apprenticeship under the guidance of a Guru. The student
is provided with all the necessary requirements for this
period and is assured a birth in the field of Classical
Music.
Musicians
had not become that professional then, way back in 1940,
when I still remember how a small boy hailing from Calcutta
with full Bengali attire of Dhoti, Kurta and pump shoes,
stood bitterly weeping because his name had been announced
and his teacher who was to accompany him on Tabla was missing.
Suddenly we saw Ustad Ahmed Jan Thirakwa, the great Tabla-Maestro
of his time, coming on the stage with the small boy to provide
Tabla accompaniment. It was a sight still remembered by
those like me who were also competitors. The Ustad played
simple Teen Taal and he did not feel too small to play as
he could not tolerate the sight of seeing a small boy weeping.
Competition
provides scope to young talents to exhibit what they are
worth and at the same time gives opportunity to them for
introspection and one's relevance in the context of the
present day. It is this that keeps the flag of competitions
flying and fluttering.
SHANTARAM
V KASHALKAR
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