Tue, 04 Feb|
Dhrupad Recital by Niloy Ahsan, Aparajita Chakraborty & Roman Das
Time & Location
04-Feb-2020, 7:00 pm
Jambudvipa, Dando Rd, Arambol, Goa 403527, India
About the event
Dhrupad- the Naad-Yoga - is the most ancient style of Indian classical music that has survived until today in its original form. The nature of Dhrupad is spiritual. Seeking not to entertain, but to induce feelings of peace and contemplation in the listener. Dhrupad preserves many of the most ancient principles of Indian music described in the Vedas, Samhitas, Upanishads and Shiksha literatures, which sunk into oblivion with the development of other lighter forms.
The ancient Rishis and the Sufi mystics saw music as meditation, recitation of Mantra, an empathetic way of healing, a path to explore the divine. Dhrupad is deeply embedded in a philosophy of self-awareness. The forte of the form is the Alap, the unfolding of which transports the singer and the listener to a realm beyond sound.
For Niloy, true music is a divine play of the Prana, an exploration of the sound within, and the practice of Dhrupad is a path to salvation. Niloy’s approach to singing is thus holistic. A 21st generation Dhrupad musician of the majestic Dagar lineage, Niloy Ahsan is an unconventional rare vocalist, honing a unique repertoire, profound in depth understanding of Indian philosophy and Marga Sangeet as well as traditional and classical styles of Dhrupad, Dhamar and Khayal. By amalgamating an equipoise between the austerity of Dagarvani Dhrupad and the versatile musical possibilities of the Sadharani Geeti, Niloy has emerged as one of the finest and most promising young Dhrupad vocalists of our time.
Aparajita Chakroborty is a disciple of Pt. Gundecha Brothers and a devoted practitioner of Dhrupad and Rabindrasangeet, coming from an illustrious family with heritage of theatre activities for generations. She is a recipient of the NCPA fellowship and the Ministry of Culture National fellowship.
Roman Das is a much sought-after Pakhawaj artist and accompanist of our time. The specificity of his playing lies in his handling of the techniques of accompaniment. It is marked by his imaginative variations anticipating on the singer's variations while keeping up the required coordination and respecting the mood of the raga. He has a personality of his own and yet blends in the performance.