Raigarh Darbar vis-a-vis Raigarh Gharana

by Cheatana JYOTISHI

This article elaborates on Raigarh Gharana ,one of the classical dances in India.

The literal meaning of `Gharana’ is a group of families having same kula, gotra and vamsha, and blood relation between them. Other than this, families having same profession are also considered as of same gharana. `Gharana’ word is extremely important in the fields of music and has its specific meaning too. For music persons - all those who receive their training under the guidance of particular guru and of course guru’s descendants are known to be of same gharana. This trend is followed by next several generations. All the followers of one Guru, though spend their lives staying far away from their guru, (in search of their livelihood) still being technically ditto to their guru, regarding their art, are referred as of one gharana.

An individual having an extraordinary talent and spark breaks the traditional boundaries by his/her creativity and builds up a new trend, which is again followed by his followers for the coming generations. This again helps to build a new gharana. It is to be noted that there has been a practice of general acceptance for unconventional experiments and creativity in the fields of performing arts. So it can be well understood that technical features play major role in cataloguing of gharanas. As well the local culture, various circumstances of the locality and taste of the patron also moulds the art in some or other way.

This theory is altogether applicable to all facets of music including in the fields of Kathak dance. Kathak dance is a well established and and awesome classical dance form of north-west India. This well known dance style has its three gharanas based on their individual styles. Lucknow gharana, Jaipur gharana and Benaras gharana. Dance lovers have been witnessing one more special style of Kathak during last 70 years - the incredible style, which flourished in Raigarh darbar of middle India. It is astonishing to notice that in spite of a sturdy tradition this style has not yet been attributed as `Gharana’.

India has been a country of rich culture and wealth. Art lovers kings and nawabs were the patron and supporter of various art forms before independence. Most of the states had a rich panel of artists in their courts and they cherished them with pride. And as we said before, local happenings and tastes of the patron shapes up the Art in some or other way, the art forms of various states were somehow different in nature. The extremely prosperous Rajasthan, being the western most part of the country had been inviting the invaders through this route. The political and of course the geographical conditions which are extreme in Rajasthan, affected the art forms mounting in this area. This is because, Jaipur kathak has a touch of warrior style. Whereas we see a softness and delicacy (nazakat) in Lucknow kathak, which certainly reflects the taste of the then Nawabs of Lucknow. But these are the glimpse of Indian courts, whether they are of Hindu Maharaja or Mughal Shahanshah.

Remember Mughals came to India as invaders, but they accepted this land as their own motherland. They became a part of its culture and society. Whereas British came here only to snatch the glittering wealth of this country. They have nothing to do with art and culture. We see an unrelenting decay in our art forms during British reign.

As a consequence the artists not only lost their patron and wealth but also were bound to roam here and there for some shelter. This was the very story in all the states. In Lucknow after decline of Nawab Wazid Ali Shaha, artists got shelter in Rampur court. Sadarang and Adarang were in this court and Khayal style of North Indian classical vocal music no doubt took its stature here. Achchan Maharaj, the well versed Lucknow artist of kathak was also in Rampur court, but anyhow kathak could not get that breeze to blossom itself, which it had been receiving constantly in Lucknow Darbar.

Extreme love

Meanwhile, it was in 1924 when Raja Chakkradhar Singh took the charge of Raigarh state of Madhya Pradesh after the sudden demise of his elder brother Raja Natwar Singh. This art lover, art critic, art devotee young king was himself a connoisseur of kathak dance and percussion instruments. Though he had been brought up in an English and convent culture, nevertheless he had extreme love and honour for Indian culture. This fact could be well noted from his attire.

We know that Nawab Wazid Ali Shah was not only the patron of kathak dance and other folk art forms, but also a `Sadhak’ too. He and kathak doyen Maharaj Bindadin enriched this dance style putting their best efforts. But their efforts might have been smashed off if the upcoming generation of kathak dancer would not have received an art connoisseur patron as Raja Chakkradhar Singh.

Late Raja Chakkradhar Singh should be remembered as an authority who established Kathak dance as a solo performing art giving his hole and soul. Assuming the demand of future times he invited the gurus of all the three gharanas at Raigarh, and made them to stay for long period there, with great affection and care. He not only himself learned the specific items of these gharanas but also provided vigorous training to four boys of his state, namely: Kartikaram, Kalyandas, Firtudas and Burmanlal. Within few years all of them became distinguished court dancers and gave their performances all over India during 1930-40s.

Nawab Wazid Ali Shah preferred group dance shows instead of Solo performances. For this he provided systematic training to his own ranees and the contemporary courtesans of Lucknow. The dance dramas/belles created those days were performed both in the court of the Nawab as well in public. But as this dance was practised by courtesans, it was not welcomed by the common man in the society. Raja Chakkradhar Singh seems to be known of this flaw, and so, he was alert about the fact that, if Kathak dance remain as a mean of mere leisure for men, it would not ascertain its position as a classical dance form.

To gain its respectful place as an art form it should and must involve the whole society and indeed be practised by the ladies of upper class. This was probably why he made everything possible to train the above said four boys in this particular dance form. It was his pre-assumption that turned out in such a great success. He will be always remembered for establishing Kathak dance on an honoured platform.

It is for the reference of learned readers that Raja Sahib’s grandfather Majaraj Ghanashyam Singh (1862-1890), his father Maharaj Bhoopdev Singh (1890-1917), his uncle Peel-lal and Narayan Singh and his elder brother Natwar Singh (1917-1924) all were music lovers, and the then celebrated artistes used to come to Raigarh state frequently. Chunnilal, Naththulal, Sivanarayan (all from Jaipur) Sitaram, Dhandhe Khan and Nanhelal (disciple of Maharaja Bindadin) were in the court of Maharaja Bhoopdev Singh. Prince Chakkradhar Singh had a great opportunity to watch and learn from these eminent scholars since his adolescence.

Raja Chakkradhar Singh was only 20 and still was studying in Rajkumar College at Raipur, when sudden demise of his elder brother Raja Natwar Singh, engaged him with his family and state matters.

And thus it was in 1924 a new era started for Kathak dance and was long-drawn-out till his death in 1947. It was during his reign, enormous projects were carried out related to all the dimensions and possibilities of creativity in Kathak dance at Raigarh. The work geared up during this period is amazing.

Music colleges

It is to be taken in account that the Institutional Music System was tracked out in nineteenth century in Indian region. Three music colleges, first in Baroda (last decade of 18th century), second in Lahore (1901) and third in Lucknow (1926) were initiated by Maula Baksa, Pandit Vishnu Digambar Paluskar and Pandit Vishnu Narayan Bhatkhande simultaneously. Raja Chakkradhar Singh being institutionally educated knew the importance and requirements of institutional system.

Theoretical works

Also he was aware of the slang terminology of Kathak dance which had no roots in Sashtric tradition. To overcome this crisis he compiled four huge theoretical works namely: Nartana-sarwaswam, Raagratna-manjusha, Murajwarna-pushpakar and Talatoya-nidhi using the medieval treatise of music such as: Sri Sangita Kaladhar, Radhagovinda-Sangitasara, Sangita Sudarshan, Nada-Vinod etc. and of course from the oral tradition, which he acquired from the contemporary scholar artistes present in his court. His sincere attempt shows how passionately he was committed to Kathak dance.

The above mentioned four books have not yet been published, they are under the custody of existing family members of Raigarh Raj-gharana.

I urge them to publish these four gems and make them available for music lovers and kathak `Sadhakas.’ This will be their ever best homage to Raja Sahab.

However subject matter of the above four books is manifested in `Raigarh Darbar’ written by late Prof. P. D. Ashirwadam and `Raigarh me Kathak’ written by late Guru Kartikram (one of the four court dancers). I myself consulted and verified many things from my gurus Pandit Kalyandasji, Pandit Ramlalji and Prof. P. D. Ashirwadamji. `Raigarh Darbar’ published in 1990 is a research work by late Prof. P. D. Ashirwadam and can be considered as an authentic book on this subject.

Most of the music lovers know about the books Naazo, Bani, Dulhan etc. written by Nawab Wazid Ali Shah. These books are propped up as the `Shastra’ of Kathak dance. But few of us know that they have nothing to do technically with Kathak Dance. Books are in print and one can justify this fact.

Raja Sahab passed out at an early age; our self-effacing gurus not having strong political backing couldn’t raise their voice for this genuine cause. And the scholars engaged in seminars also didn’t think reasonable to pay their attention. `Raigarh’ indeed will enhance the beauty of Kathak dance as a Gharana. Hence it is urged to sort out `Raigarh darbar’ as `Raigarh Gharaha.’ It’s never too late. Shubhasya Sheeghram.

I feel myself quite privileged of having opportunity to learn both, the Lucknow and Raigarh styles of Kathak. I was brought in this field by late Guru Kalyandas Mahant of Raigarh. I completed my post graduation under the distinguished guidance of late Prof. P. D. Ashirvadam, obtaining the Lucknow style, and again received training from Pandit Ramlal guruji of Raigarh.

What so ever I own from the amazing Shaili of Raigarh is the very affectionate blessings of the duo gurus of Raigarh. I dedicate my article to the revered memory of late Pandit Kalyandas Mahant and to Pandit Ramlal guruji.