Raigarh Darbar vs-a-vis Raigarh Gharana

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 same Guru/Guru’s descendants, are known to be of same Gharana. All the followers of one Guru (though spend their lives staying far away from their Guru in search of their livelihood) being technically ditto to their Guru in terms of art, are referred to as of one Gharana. This trend is followed by many of the next generations. In this journey there comes a juncture when an individual with 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’s to be noted that there has been a practice of general acceptance for unconventional experiments and creativity in the fields of Performing Arts. Therefore it can be well understood that technical features play major role in cataloging 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 forms of music including in the fields of Kathak dance. Kathak dance is a well establish and a remarkable 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 central India. It is shocking to note 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 lover 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. As it is said before, local happenings and tastes of the patron shaped up the art in some or other way, thus 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 were of Hindu Maharaja or Mughal Shahanshah. Remember Mughals came to India as invaders, but they accepted this land as their own mother-land. They became a part of its culture and society. On the other hand we see that British came here only to snatch the glittering wealth of this country. They have nothing to do with its 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 Wajid Ali Shah, artists got shelter in Rampur court. Sadarang and Adarang were in Rampur court and Khayal style of singing took its stature here. Achchan Maharaj, the well versed Kathak dancer was also in Rampur court. Anyhow kathak could not get that breeze to blossom which it had been receiving constantly in

Lucknow Darbar.

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, however he had extreme love and honour for Indian culture. 

We have learnt that Nawab Wajid Ali Shah was a great patron of music and dance. One may note that it was the group format of dance which took shape in Wajid Ali’s court. The Nawab and Maharaj Bindadin enriched this dance style putting their best efforts. But then these efforts would have been smashed off if the upcoming generation of Kathak dancer would not have acknowledged an art connoisseur patron in Raja Chakkradhar Singh.

Raja Chakkradhar Singh should be remembered as an authority who giving his whole and soul to the expansion of this dance form, reconstructed the ancient solo format of Kathak dance. 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 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 the four boys became distinguished court dancers and were known as unmatchable performers during 1930-40s in the fields of Kathak dance.

As said before, Nawab Wajid Ali Shah preferred group dance shows instead of solo performances. For this he provided systematic training to his own Ranis and the contemporary courtesans of Lucknow. The dance dramas/ballets created those days were performed in the court of the Nawab as well in public. But as this dance was practiced 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. The raja knew that to gain its respectful place as an art form it should and must involve the whole society and indeed be practiced 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 presumption that turned out in such a great success. He will be always remembered for establishing Kathak dance on a revered platform. It would be interesting to know that Raja sahib’s grandfather Maharaj 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. All celebrated artistes of those days were invited to Raigarh state frequently. Chunnilal, Naththulal, Shivanarayan (all from Jaipur), Sitaram, Dhandhe khan & Nanhelal (disciple of Maharaj Bindadin) were in the court of Maharaj Bhoopdev Singh. Thus 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. 

His astounding insightfulness gave him a clear view of upcoming Kathak, which was not of a single Gharana or solely designed by Tala-paksha or Bhava-paksha, but a rare combination of both – Bhava and Tala. Keeping this in mind he rendered all required exercises to shape-up Kathak dance as a Solo Classical Dance Form, which had a fine blend of Tala and Bhava paksha and a soothing flavour of Jaipur and Lucknow styles.

It is to be taken on 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. He was aware of the slang terminology of Kathak dance which had no roots in Shastric tradition. To overcome this crisis he compiled four huge theoretical works namely: Nartanasarwaswam, 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 attempts show how passionately he was committed to Kathak Dance.

Above mentioned four books have not yet been published; they are under the custody of existing family members of Raigarh Rajgharana. I urge them to publish these four gems and make them available for music lovers and Kathak ‘Sadhakas’ as these are the ONLY AVAILABLE written evidences on how and what this particular dance was seventy five years ago. This will be ever best homage to Raja Sahab. However subject matter of the above four books is manifested in a published research work ‘Raigarh Darbar’ written by late Prof. P.D. Ashirwadam and ‘Raigarh me Kathak’ written by late Guru Kartikram (one of the four court dancer). Both of the above said books provide authentic information and material on the subject. Most of the music lovers know about the books Naazo, Bani, Dulhan etc. written by Nawab Wajid 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.

India is a country of various languages, beliefs and culture, so are the existing traditions of music and dance therein. Bharatnatyam, Odissey, Kathakali are the southern dance styles, Manipuri is the eastern one, whereas Kathak is considered to cover up the whole north-west-middle part (and some part of east also) of the country. Many music lover kings provided patronage and scholar gurus dedicated their lives to bring this dance form up to its present heights. The Lucknow and Jaipur styles of Kathak dance grew simply for the enjoyment of their patrons in the milieu of Darbars and after some years got the pride of ‘Gharana’, but this was not the case with Raigarh Darbar and the Kathak brought up therein. In fact Kathak dance obtained its balanced form all the way through at Raigarh Darbar. It was Raja Chakkradhar Singh who placed it as a Solo dance form. It was his contemplation about the upcoming music system and the required steps taken by him in this regard, which helped out in popularizing Kathak dance amongst common people. 

Raja Sahab passed out at an early age; our self-effacing gurus didn’t have strong political backing thus couldn’t raise their voice for this genuine cause. 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 Katkak. 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 sir, 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.