Annapurnadevi – Yogini Musician

Navina Jafa

Published in The Hindu on October 26, 2018, as  ‘Legacy of a Yogini’

For the past five decades, Annapurna Devi, renowned as an extraordinary musician, chose the path of a Yogini over the allure of the stage. Amidst her multifaceted worldly identities—the forsaken first wife of Pandit Ravi Shankar, the daughter of Baba Allauddin Khan- the Founder of the Maihar Senia Gharana, the sister of the maestro Ali Akbar Khan, one of the pioneering women from a traditional musical lineage to master the revered Surbahar, and a mentor to several acclaimed musicians like Hari Prasad Chaurasia and Nikhil Banerjee—it was perhaps her withdrawal from the limelight and the haunting image of being the tormented spouse of the larger-than-life success of Ravi Shankar that piqued curiosity and prompted an investigation into her enigmatic life.

Learning from her Father and Guru – Baba Alauddin Khan

This tribute is based on a series of conversations with Nityanand Halidpur, her pupil. This flautist assumed the role of her caregiver in 2013 after the passing of her second husband, Roosikumar Pandya. “Guruma’s unique prowess was first noticed by her father and Guru. She had a penchant for singing Raga Malkauns. One day, Baba observed that as she sang as a young child, the leaves of a Pipal tree started rustling on a windless day. He was concerned that malevolent forces in the form of Djinns might overwhelm her and hinder her performance of the Raga. However, he also devised a remedy by creating a new raga called Kaushi Bhairav.” Raga Kaushi Bhairav amalgamates Raga Malkauns (typically sung late at night) and Raga Bhairav (performed at daybreak). The interplay of these contrasting energies generates a sense of inner equilibrium.

Left – Pt Ravi Shanker, Middle – Ustad Ali Akbar Khan, Right – Annapurnadevi

The Birth of a Yogini:

Born into a Muslim family, she was bestowed with the name Annapurna by the Raja of Maihar (Madhya Pradesh), where her father served as a court musician. The cornerstone of her musical upbringing was riyaz (meditative practice), characterized by abstinence, devotion, discipline, and arduous labour. It is a process that deals with memories and beliefs absorbed by the individual through repeated practice, assimilation, and keen observation, ultimately manifesting as an ‘ideal’ embodiment. “Guruma used to say that Riyaz, or practice, was akin to a purifying bath, cleansing layers of impurities. The seeker, or Sadhak, listens to the inner sound to attain perfection, self-realization, and encounter truth, beauty, and fragrance.” Annapurna Devi conducted her riyaz late at night, “unseen and unheard by anyone. It was believed that the power of her meditative music lulled everyone into deep slumber. The only evidence was the fragrance of roses that filled the entire house in the morning.” She was a Yogini, an enlightened soul who had achieved Siddhi, a phenomenon of Yogic magical powers awakened through consciousness. The Siddh, one who possesses a controlled mind, has mastery over oneself, others, and the natural world; they are empty yet brimming with inner bliss. They engage with the world and people with positive energies.

Devi – Embracing the World:

Annapurna’s residence in Akash Ganga, Mumbai, served as a sanctuary for her personal journey as a Yogi, harmoniously coexisting with her role as a Guru and her engagement with the world. As Devi Annapurna, the Goddess of Nourishment, she lovingly provided sustenance to both birds and people. “Guruma insisted that no one left her home without partaking in her divine cooking, particularly occasional chicken dishes that her brother relished. Each time she cooked, the flavour was distinct, nourishing the stomach and soul, akin to her music. Beyond her personal tragedies, a pure, childlike essence endured in her. One could hear that purity in her laughter. She kept herself updated by listening to music on the radio and watching television.”

The making of a devoted Guru is a demanding journey. “Her teaching demanded rigour and unwavering commitment. I was grappling with writer’s block, and it was the daughter of Pannalal Ghosh, the renowned flautist and a disciple of Baba Allauddin Khan, who directed me to Guruma, affirming that only her guidance could propel my musical journey. She heard and acknowledged my work, but she cautioned that her teaching wouldn’t earn me applause from large audiences; instead, it would garner the respect of the discerning few. For the former, she suggested turning to Ravi Shankar or her brother, Ali Akbar Sahab.” Likewise, when Hari Prasad Chaurasia approached her for lessons, he was informed that he would have to unlearn what he knew. Chaurasia’s solution was to learn by changing the position of the flute on the left side. For her, her father remained the quintessential Guru. “She would commence her day by folding her hands before the portraits of her father and Guru, Baba Alauddin Sahab, offering prayers for purity of intent in her endeavours. She sensed his presence in the pigeons she fed, as he had loved to do.”

Annapurna Devi recognized that not every performing artist could opt for the path of a meditative recluse. Her approach as a Guru was characterized by wisdom and compassion. Her instruction encompassed a delicate balance of profound learning with practical nuances to enable the evolution of a skilled performer. “Guruma imparted special techniques for riyaz, where the focus was on playing for the ONE—the solitary listener. She believed that for a performance, one should anticipate challenges. Today, a performer is often given limited time or finds themselves following a captivating act or multiple performances. In such circumstances, an artist is expected to deliver a captivating performance, immersing the audience in the specific Raga. To achieve this, she taught special mantra-like phrases that encapsulated the essence and structure of a Raga. Playing these phrases at the outset of a performance allowed the artist to control their mind and swiftly immerse themselves in the world of that specific Raga, irrespective of the allotted time. It ensured that the audience embarked on the journey with the artist. This combined practice of riyaz and performance became a living ritual.”

Combining her passion for exploration and her unwavering commitment to her meditative journey, Guruma Annapurna Devi transcended the profound personal tragedies of a failed marriage and the devastating loss of her only child. Her remarkable journey is a testament to her resilience.

Annapurna Devi deeply admired Pandit Ravi Shankar, recognizing his unwavering dedication to his Guru and his music. Through her dedication and talent, she ascended to a level few achieve in their lifetime. Notably, Mrs. Indira Gandhi once personally requested her to perform for renowned violinist Yehudi Menuhin and musician George Harrison. While Menuhin couldn’t attend, Harrison came and experienced her enchanting music. Her eminence was such that the prestigious Padma Bhushan award was delivered to her home, adorned with a simple message on the door: “Ring the bell thrice if no one answers, leave your card or message.”

Guruma Annapurna Devi’s music resonated with sublime vibrations, touching the soul’s essence. She was born into a Muslim family and was given a Hindu name upon marriage. She ultimately embraced the path of a Yogini, a Devi, before passing during the auspicious Navratra period. Her life journey is a testament to the power of music, spirituality, and transformation.

Shri Nityanand continues his Guru Sewa by managing The Annapurna Devi Foundation in the Akash Ganga Apartment.

#navinajafa, #indianmusic, #ravishanker, #heritage

Enriched India with Sounds of Harmony

Navina Jafa

No longer just the intangible, living heritage of the Raj in India, choral music embraces different genres, providing a healing touch to parched souls. The past exists to enrich India’s diverse cultural fabric. 

This article was Published in The Hindu on May 16, 2019. Titled:“Expanding Sounds of Harmony

The Torchbearers: Music conductor Late Neil Nongkynrih with the members of the Shillong Chamber Choir

Sitting in a rocking chair in her home in Civil Lines, author, singer, and connoisseur Sheila Dhar once reminisced about the culture of Delhi in the first half of the 20th century. 

       Shiela Dhar

“We were taught to use cutlery, and my mother was given tuition in English. On special occasions, songstresses such as Siddheshwari Bai were invited to sing for a meal when we had a British officer. Even she would sing thumri in English,” said Dhar candidly. The cultural geography of many known and unknown towns in India is peppered with various nuances of the Raj. Christmas singing traditions are central to celebrating the Indian-Colonial culture, in which choral singing has made a place for itself in contemporary India. 

           Capital City Minstrels

It is no longer about winter or Bada Din (Christmas). The ‘summer concert’ of The Capital City Minstrels (CCM), a well-known Delhi choir group, celebrated its 25th year in 2019, singing to a jam-packed audience at the India Habitat Centre. Their performance ended with a standing ovation. The audience rose, whistles shrilled the air, and claps roared. There was the demand for not one but ten encores. The performers chose to sing “The Book of Love’ – Magnetic Fields. The Chorus sang: “But I, I love it when you sing to me; and you, you can sing me anything”. A nostalgic image of Raj’s culture rose.

Choral music in India forms an integral part of the intangible cultural heritage of the colonial period. The organisation of city development programmes such as building Railways presented two broad categories: sacred and secular leisure cultural activities in the Raj. A range of cultural manifestations and activities were evident in cities and towns like Agra, Lucknow, Madras, Calcutta, Bangalore, along with hill stations and several railway towns like Bandi Kui (Rajasthan) and Kharagpur where areas like Civil Lines, Cantonments, Railway colonies, and markets became cultural spaces.

The author at the Bandikui Church

The secular tangible heritage comprised official buildings, designs of homes, clubs, boarding schools, band stands, gardens and marketplaces. The intangible heritage manifested as lifestyles in clubs, coffee houses, theatre, tea parties, and sports like tennis, cricket, and billiards.

Sacred Spaces 

The tangible heritage of the sacred spaces were the churches and cemeteries. Churches represent a range of architectural designs like Gothic and Romanesque Baroque. Their interior décor has stained glass and indigenous Eurocentric artwork, such as the Wedgewood designs in the chapel of La Martinere in Lucknow.

Wedgewood Artwork at the La Martinere School in Lucknow.

Music, integral to the culture of the churches in the Raj, often included unique pipe organs dating back to the late 18th-19th Century and choral music. The tradition of sacred music and religious festivals, in turn, brought a variety of celebrations, cuisines, and rituals laced with local flavours.

Sharmila Livingston, Music Conductor, Capital City Minstrels, New Delhi

The number of those who understood, appreciated, and participated in the world of Western Classical Music as part of the Raj was and continues to remain small. Choral music’s roots are in the Church, says Sharmila Livingston, present conductor of CCM. “The Choral musical tradition has Euro-Western roots in the Gregorian chants (9-10th century) sung by young monks. Gradually, with time, the music came to be performed in secular spaces. The amplification led to the incorporation of different genres of opera, ones that appealed to the masses. The nature of choral music is multi-layered in voice qualities, which becomes a metaphor for the distinct character of choral singing: ‘ harmony’. The music is like a bunch of flowers, where simultaneous qualities and ranges of voices sing together to produce a harmonious effect. Each singer dissolves his personal identity and works together for the same idiom.”

The Cosmopolitan Nature:

Most choral groups in India are linked to churches and present platforms for real-time community bonding. However, recently, several secular groups like CCM have evolved. Reem Khokhar, a writer and part of the governing body of CCM, expresses that it is not about once a week meeting but about the coming together of so many people from different backgrounds and countries who become family when it won the reality show – “India’s Got Talent” in 2010 and other awards. The group’s national and international success has brought the marginalised North East India into the mainstream as a matter of national pride. “Our music is truly like the idea of the choir, a metaphor of harmony and peace,” said the late Neil Nongkynrih, founder of the Shillong Chamber Choir.

Changing Contours

Most choirs used to be a lot about Western Classical, but gradually, CCM, with various conductors, expanded the repertoire. “In 2008, CCM had its first concert abroad. It was an exciting time. Conductor Gabriella Boda, a French married to a Hungarian, brought different languages and genres like African Tribal and Arabic compositions, among others. For the concerts abroad, we carried a series of Indian music, such as a fisherman song. At the same time, Sharmila Livingston, our present conductor, wrote a Ruh-aa – (A prayer in Urdu for church). But the most interesting part was that we sang “Raghupati Raghav Raja Ram” which became a signature tune for the BBC website and the title tune for a German Choir – Remscheider Ensemble,” informs  Michael Pereira, a former police officer he is associated with the Capital City Minstrels for a long time. For Neil Nongkynrih, it was about accepting that Bollywood music ‘IS’ India and the manner of negotiating the music in their repertoire. Says Neil, “Although I grew up with the music of Mozart and other greats of the Western Classical World, I had to leave my snobbery. Bollywood is like a marriage of Freddie Mercury and Lata Mangeshkar with a swing of malt glass. That is my music. I prefer old Bollywood music. It has soul, lyrics, and melodies, which we sang in the St. Paul’s Cathedral in Calcutta. The audience went bananas; they found the music sacred.”

Healing touch 

At times, the choir also plays an important social role in bringing together communities. “Some years ago, when there were communal clashes in Shillong, my son, singers, and I went with our music to stand up for peace,” said Neil Nongkynrih.

Sharmila Livingston says, “We incorporated in our summer concert ‘Bring Me Little Water, Sylvie’, a beautiful melody that factors interactive body percussion rhythm; but we instead have introduced dance for which our members find another occasion to practice separately and bond.”

In the present world defined by virtual reality that has engineered greater human isolation and alienation, the repositioned choral singing of the musical echoes of Raj provides hope to nurture real-time bonding and coexistence. “When I teach young Eva, it is eight hours of humility and two hours of singing; the choir is about synergy, melting of the cancer of the self,” sums up Neil.

         

 

Music gives soul to the Universe,

Wings to the Mind,

Flight to the Imagination

And

Life to Everything …. Plato

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Gandhi – Igniting Creative Energies – Dr Navina Jafa

Artist – Upendra Maharathi – Title – Meeting of Two Great Saints Across Time

In a world of divisive contested political games, the symbolic inspiration in the idea of Gandhi remains a tool to give voice to the unrepresented and truth. For artists, Gandhi’s phenomenon is a hope and a source to be social commentators to advocate for the best in humankind.  

In the book ‘Music of the Spinning Wheel’ by Sudheendra Kulkarni, Futurist Ray Kurzweil presents Gandhi as a prophet of the communication revolution. The idea of Gandhi lives on as an inspirational force for artists engaged in communication to stir sensibilities.

Rasoolan Bai- Sang- Avtaar Gandhi hai, Bharat ka bhaar utarne ko”(messiah Gandhi has come to release Bharat from her burden).

In the 1990s, cultural commentator Late Bhanu Shanker Mehta spoke on the courtesans of Banaras. “”Soon after the Quit India Movement singing to an elite audience was the well-known Rasoolan Bai from Varanasi. The room palpitated with the spirit of Nationalism. Political leaders and merchants swayed to her music. They stood up in ecstasy when she sang ”Avtaar Gandhi hai, Bharat ka bhaar utarne ko”(messiah Gandhi has come to release Bharat from her burden). The concluding lines of the song brought the imagery that Gandhi’s Spinning wheel is like Krishna’s Sudershan Chakra. The wheel of time flung to destroy evil forces.”

Gandhi remains the spirit of hope, compassion, inclusivity and justice for the stigmatised, marginalised and unrepresented voices. Seventy-three years after his death, his tenets and persona stimulate journeys of creative processes both in literature and in the performing and visual arts.

NK RANGA’s ICONIC CARTOON ON GANDHI

Gandhi is known for his good humour, and welcoming criticism quipped to Sarojini Naidu, who once called him Mickey Mouse, whose ears were more prominent. Lampoon cartoonist caricaturist N K Ranga  froze this essence in a series of iconic two-line sketches, several of which were autographed by Gandhi. They capture the simplicity of a man who shook the world with a controlled power embedded within. One cartoon is immortalised as a postage stamp. 

‘Gandhi, The Man of Peace,’ by the award winning children’s literature expert Manorama Jafa captures charming details about Gandhi such as the name of his favorite black goat. The book narrates to the young reader, the life story of the Mahatma, one of the greatest men the world has known. The sensitive pencil sketch illustrations by Deepak Harichandan add to the charm of the book.

AMJAD ALI KHAN – TRIBUTE TO GANDHI AT THE UNITED NATION

Amjad Ali Khann – Tribute to Gandhi

The Father of the Nation, an emissary of peace, inspired two great musicians, Carnatic singer Dr M. Balamurali Krishna and Sarod player Ustad Amjad Ali Khan. They were invited to perform at UNESCO in Paris for Gandhi’s 125 birth celebrations, where they presented their Ragas (melodic Scales) on the idea of Gandhi. Balamurali’s Raga ‘Mohan Gandhi’ composition and melody displayed the theme of inclusivity of all humans and diversity in the light of a tolerant, awakened society. Ustad Amjad Ali Khan observed, “From childhood, Gandhi captured my imagination. At school, I often played Vaishnav Janato and the Ram Dhun. At the UNESCO, in my Raga ‘Bapu Khas’. I aspired to represent compassion rahamdili and inclusion of all. Folk or popular musical genres were not included in the Sarod repertoire. I thus brought popular music in my Sarod performances just as Gandhi brought the common man into the National Movement. My composition reflects the ethos of the words of Vaishnav Janato – the seeker of God feels the pain of others, helps the ones in misery, let go of ego and respects the entire world. The performance was khidmat (be in service) to Gandhi’s spirit on an international stage. It was a tribute to the best-known Indian the world honours.” 

Creative Tribute Dr. M Balamuralikrishna

The Wheel of Churning

UPENDRA MAHARATHI – PAINTING TITLED – PHILOSPHY OF GANDHI – 1946

The spinning wheel motif and spinning action are about churning and exploring. An artist’s quest is designed in cyclic time, rhythmic beats, movement, strokes of brushes and plastic forms. Adwaita Gadanayak, Director of the National Gallery of Modern Art, Delhi, narrated an occasion when Gandhi coaxed the artists Upendra Maharathi and Nandlal Bose to respond to an evocative question, “How do you sweep the floor? Does the broom make circles or long or short strokes?” Maharathi, inspired by Gandhi and Buddhism, worked relentlessly to bring forth crafts and celebrate symbols of peace and the idea of social inclusion in his art. 

NANADLAL BOSE

Bharatanatyam exponent Ragini Chandrashekhar responded to the abstract idea of truth in the reworked production ‘Satya Mev Jayate’ choreographed by her mother, the late Jamuna Krishnan. “The quest of truth and movement of circularity as churning is central to Gandhi. It is evident in his autobiography The Story of My Experiments with Truth.

SATYA MEV JAAYTE- KALIYA DAMAN

The production reinterpreted myths like the Kaliya Daman using abhinaya and rhythmic patterns. The bouncing ball represents the ego and oscillating struggle. The ball falls into the dark poisoned river, the Yamuna. The Kaliya serpent emerges from the churning waters, and Krishna, the symbol of truth, overcomes evil when he dances on the serpent’s hood. The metaphorical use of powerful rhythms on the ghatam (round earthen pot) in which sounds resound reinforcing churning.” 

“The violence in the world today had me explore Gandhi’s idea of Ahimsa which I performed at the Gandhi Smriti,” says Odissi exponent Kavita Dwibedi. “It was poignant that I performed at the place where Gandhi fell to a violent death. My dance is from Odisha, the land where the violent, war-driven and power-hungry Emperor Ashoka metamorphosed as an emissary of Buddhism and peace. For me, the most powerful turning point of my performance was depicting the image of a wounded man asking Emperor Ashoka for water. The King turned to the river only to realize that the river was filled with blood from his war. The harsh rhythmic sound of Mridanga reverberates in contrast to the sublime sound of the flute. Buddha appears, and Ashoka, a harbinger of Non-Violence, is born.” 

Forests and Tribals

Kathak dancer Alpana Vajpeyi’s recalls her choreography on contested contemporary issues of ecological concerns and rights of forest dwellers. “Mahatma Gandhi fought to recognize the dignity of tribal communities and forest dwellers called Girijans or the Children of the Forest. Of Raj Gond lineage, Maharaja Chakradhar Maharaj of Raigarh (Chhattisgarh) explored ecology in dance and music compositions. Such compositions, when performed, entertained and simultaneously created awareness among his public to care for the soil, forests, and water. The compositions for dance and percussion refer to biodiversity, water, and soil (mitti). A composition titled ‘Brahma Beej’ (the eternal seed) traces the journey of the seed growing into a large tree. Biodiversity is illustrated in a series of compositions on the local forest flowers Hem Pushpa, Gandh Pushpa, and Mukta Pushpa.” 

DAKSHA SETH – KHADI

Blending the idea of women, weaving and empowerment, danseuse Daksha Sheth once remarked, “Khadi is a unique drape in constant play with the body, both in stillness and movement.” The movement of the imaginative dance brought vibratory energy to the woman’s body.

Kumar Gandharva & Raga Gandhi Malhar

KUMAR GANDHARAV

Recalling the power of Gandhi, poet, critic, and cultural administrator Ashok Vajpeyi recalled, “Late Kumar Gandharva composed Rag Malhar Gandhi on the occasion of Gandhi’s centenary year. It celebrates him as a fearless person, a friend of those who is troubled and tortured, and a life-giver. The music in the two compositions by Kumar Ji captures the massive impact imaginatively, perhaps essential or perhaps the existential loneliness of the Mahatma; his spiritual being, empathy and an agonized conscience.” 

In a world of divisive contested political games, the symbolic inspiration in the idea of Gandhi remains a tool to give voice to the unrepresented and truth. For artists, Gandhi’s phenomenon is a hope and a source to be social commentators to advocate for the best in humankind.  

Dr Navina Jafa

Dr Navina Jafa is a Cultural Heritage professional, well-known Kathak Classical Dancer, cultural historian, performing art scholar, and curator of signature heritage tours. A Fulbright Scholar at the Smithsonian Museum, she has worked on projects for Cambridge University on Culture and Artificial Intelligence.

She has been extensively awarded for her contribution to heritage tourism, School heritage education, and as a dancer.
She has also trained in art history and has worked extensively on Cultural Heritage Skill mapping Data Analysis and application in sustainable development programmes. Dr Jafa has worked with the Government of India, is on several boards of different organizations, and is a consultant on culture, heritage, performing arts and tourism.

http://www.navinajafa.com; Instagram, Twitter: @navinajafa 

#Gandhi #nonviolence #Peace #dance #music