Indira Gandhi was still the Prime Minister and the film Nikaah had just released to become a huge blockbuster. The likes of Buddhadeb Dasgupta, Shahid Parvez Khan and Pandit Mahapurush Mishra soon followed, but more importantly stayed on, to discuss music and talk to budding artists.
I remember Amjad Ali Khan for example, wearing a magnificent black Kashmiri stitched shawl, playing the sarod for an hour to thunderous applause. Soon after, a string of classical musicians hopped in and out of our small town, gracing the stage at the club, and sometimes at our home too. My father’s attempts were in a similar direction, with the intention of introducing Indian classical music to this remote corner of Northeast India. In his time, Pandit Bhatkhande had travelled throughout India, meeting with the top musicians, researching on music and devoting all his time in establishing a system to classify prevailing forms of Hindustani music, and ensuring that a coordinated theory and practice was set in place.Īs a consequence of these endeavours, many Hindustani classical music schools throughout the country opened up. Baba and his musically inclined friends had set up the Bhatkhande Memorial Committee, to honour the legacy of Pandit Vishnu Narayan Bhatkhande, the earliest Indian musicologist who wrote the first modern treatise on Hindustani classical music. Soon however, this routine gave way to another flurry of activity. On such days, Baba’s students flocked into the living room trying to imitate their guruji and his wavering curls, while he burst upon the tabla. From the Magazine 'Phir Bhi Dil Hai Hindustani': Shah Rukh Khan As The Symbol Of Indianness Love, Respect, Awe: Look At Her Like Shah Rukh Khan Looks At His Women A Fanboy’s Bollywood: Before And After The Khans The Nihangs: Sikh Warrior Creed That Evokes Respect And Fear In Equal Measure Soojit Sircar’s Udham Singh Is A Cinematic Tribute To The Martyr
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