Arun Kashalkar: Meet the Zen master of Hindustani classical music

If there was a nominee to war name Jeremy Corbyn in the world of Indian music, someone who could be described as “Mr. Zen of Indian music,” would be 74, Arun Kashalkar.

The similar change in Kashalkar monk behavior is, among other things, a consequence of the hard life of the hand that manages this exceptional musician – a hand that played with remarkable dignity and patience. Small society is expected for worldly rewards or recognition of its services to music. This, in turn, allows you to make music on your own terms, without the hinders of the way it will be received by the market.

Having known for two decades, I have observed the ease with which communicates with young people who, in turn, are attracted to his absolute but pleasant personality.

Artist Sarod Abhishek Borkar, 25, says this more. “Arun Kashalkarji was chief examiner on oral and practical Bachelor’s degree exams,” said M. Borkar. “I expressed a deep appreciation of my Yama raga performance in the final, but also grilled on the Puriya-Marwa-Sohini axis during the live report or exam.Although this question forced me to delve into the differences between these ragas, Arunji made sure not to impose myself, but instead he gently told me in the right direction. He has no air. ”

The singer Khayal singer Kedar Bodas, 54, agreed: “It is monitored the musical progression of musicians almost all young people who deserve to be heard and knows exactly what region a particular musician has to work more and share the comments of In an honest way, but loving and stimulating. ”
The promoters of Indian classical music often say that the race is too complex for the average viewer and should be diluted in digestible “capsules” to be enjoyed. However, such proposals are also trying to eliminate the key ingredient that holds any art form relevant to society – a sincere intention. People are curious about Indian music, but the art form is lacking in serious commitment. The exact reason for this qualitative decline lies in the fact that most major developers are content to flirt with the fleetingly temporary curiosity of the audience rather than working to establish a long-term relationship with a cultured audience.

“The broader trend of Hindu music today is avoidance by many musicians, especially the very famous to deepen the knowledge of the subject and create music that meets the aesthetic values ​​of this art form,” Weddings said.

The antidote may be to expose young people to Hindustan classical music in its purest form. Some get there, others do not. The reason rock music of the 1960s always finds listeners, is because their authenticity continues to hit the spot. This is exactly the same reason why Faiyaz Khan, Bade Ghulam Ali Khan or Kesarbai Kerkar never register. When we look at the glamor and general void of many so-called hardcore, there are only a few dozen musicians who can participate in both the experienced rasika and new music, thanks to their artisanal mastery and content. Like sincerity of intention.

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