“Authenticity is devotion expressed in the simplest form.” Interview with Leela Omchery
Cleopatra David
I had the privilege
to study a few years ago in India the art of Carnatic music (South Indian classical music) under the guidance of
a real guru, a great personality: Padma
Shri awarded Prof. Dr. Leela Omchery, author of no less than 19 research books
and former head of Music Department at Delhi University. In our last meeting,
she accorded me this interview.
Cleopatra David: What is
the place of music in your life?
Leela Omchery: My whole life is
music, my music. That is my life. My life is my music.Music is not only singing, only one. It has two other
major components. These are dance and
instrumental music. The whole is called sangeetam.
It is not just geetam, which means song. It is sangeetam: plus something. And
that“plus” it is instrumental music and dance. That is how
the ancient scholars have divided music:
"Geetam vadyam tatha nrityam trayam sangeeta muchyate"
C.D. When did you realize that you want to be a musician,
or that you will be a musician?
L.O. The real musician came later, but I always have been a
part and parcel of music. I hail from a family of musicians. And so, in our
family there have been lots of musicians, dancers and experts in instrumental
music. At that time in golden age, we used to, we were given training, sound
training, by able masters to vocal, instrumental, including dance also. So we
were experts. I was taught in all these things by able gurus. These gurus at
that time used to come to our house and used to teach. We were not going to
their Gurukulam. They used to
come. This is because at that time,
during those days, orthodox ladies were not allowed to step out of their
houses. So the teachers will came there, they teach and then they go. I learned
like this also.But the unfortunate part of this is that though we were given sound
training in music,
dance etc., we were not allowed to practice, to sing it before the public. We
were to satisfy our aim within the 4 walls
of the courtyard. The aristocratic houses had an open court yard and there it
was water from the rains, they stored it. And there the ladies were sitting
outside the courtyard. It is full of water, rain water, and it gives coolness
around verandas.And there we used to sit and used to perform, but not to
anybody outside the ladies. That was the unfortunate restriction.As an artist one would like to express the ability before
others. But aristocratic orthodox ladies were not allowed. So that the
disappointment was strong, I used to cry, I used to do a lot. Nothing! The fact
is that even the ladies were not allowed to come to house to this course and
learn, the teachers may come there. Sanskrit, Malayalam, they would teach. I
didn’t know even English, whereas my brothers were boys and they were allowed
to go to the public schools and learn, but not the orthodox ladies. We were not
given any freedom of expressing the art in any form
C. D. But the situation has changes in our days
It has changed very late. I was not allowed to go to
schools. Teachers would came and teach. And so my brother used to go to various
schools and learn and in that frustration ….I was not allowed to sing, to
perform. And this situation has changed when my mother, who belonged to a city,
Thiruvattar, and she was educated and when my father married her, she brought a
lot of brightness to the house. She was a good musician, dancer, etc., and she
used to teach me also and to teach all the people around and she used to
encourage these people to perform. We were allowed to practice only inside the
house. It was like this for years. I was the first girl in an orthodox family
who could go out of the limitations and learn not only Sanskrit and Malayalam,
but English also. I was put to English medium school. I was allowed,because my
mother was a teacher and she encouraged me. And so I learned all these things
from the my native place, but also, luckily, my father started an English
school, where so many people from all over the village came and learned and I
was also put in that school. After that I was sent to Thiruvattar, to study in
their medium college, intermediate college. There I took music and stood 1st
with first rank and distinction.
After that I could not take MA in my native place. I
got married, I came to Delhi. My husband also encouraged me, so this narrow
circle was changing and so I was put into brightness by various gurus,so many,
from whom I learnt Sopana music and
other types of music also. I reached the state where I could differentiate
between the classical music and the Sopana
music, so my immediate attention was towards the Sopana music. I tried to find out what the Sopana music is and what the distinctions of this particular type
of music are. There were lots of controversies: it is not music at all, it is
just average folk music…And so many critics were there regarding it. So it took
all my attention and I reviewed the whole section, the whole framework of that
particular system.It is different from the classical traditions. One is Natyam music, dramatic music; the other
was classical music, which grew to its present status. Theatrical, kacheri, classical
music, concert form, after rejecting the dramatic element of the music. I connected
Sopana not with this raga music.Raga
music is the earlier stage of classical music, around 2000 years ago, Christian
era. But this particular music is older than the classical, than the raga
music, because it is connected with the jati
music, jati music of the epic times.If it is not related to the classical music, what is
the specialty of this jati music?
There are 30 types of lakshanas
and all these lakshanas were still
practiced by the gurus of the Kerala temples. They don’t know much about it,
but they used to practice it. And I went deep into the field and I found out it
is the successor of jati music. Jati music was in vogue during the epic
times. Jati means a swara
combination. You can’t say it is complete. Maybe only arohana (ascendant scale) or avarohana
(descendant scale), may not be together. And so there are sancharas (rules). Jatis have
sancharas, typical prayogas (motives).Now
when we see it, we cannot differentiate between classic and between other
secular music and other types. Sopana
is the only tradition which came down without break, without any change, the temple
music we have depend up on.Ramayana
kalam, in the time of
Ramayana there
were jatis. It is not the raga music,
but it is the Sopana music, which has
certain special sancharas. For
example, if you take folk music, we only have a few sancharas, not form of pallavi,
anupallavi, charanam, (structures of a Carnatic composition) nothing like
complete sections. It may have one or two lines. The music is necessary for interpreting
a particular mode of a situation. They take only that much.
For raga music, the rule is that it should be
complete, it should have arohana, avarohana, it should have a certain type
o swaras, should follow the grammar
rules. But this jati music is not
like that. It was enough if one or two sancharas
which are capable of expressing one simple meaning. That is jati music, this Sopana music. This was early, marga
sangeet, of epic times.For expressing one particular situation, that particular
tune is enough.Then you change to
another fashion of emotion, then you change over to slow tempo, high tempo, top
voice, down voice, as per the mode of the song. So shortly that is the
difference between the classical music and the jati music. Sopana music is still following the principles of the old jati
system.And without knowing, unfortunately, so many musicians say: oh this is
out of tune. That doesn’t mean that the music is out of tune. There is a lakshana; there is a grammar of jati music. I consider sopana music to the jati system, and not
only me, even the ancient pandits,
they call pann. Pann means a raga (Tamil).May
or not be complete, a sanchara. But pann
is full raga. Janya may not be in the sopana
music, sometimes there could be also, but it is not particularity that you should
sing all these swara jati. You take
some tunes of a particular raga and elaborate it to express the feeling of the
song. Because it is bhava
music, natya
music. Whereas the other is concert music.In the concert, the norms are
different, the ragas are complete, the arohana- avarohana should be there, the
rules and regulations should govern over it, all things, vadi
samvadi
so many things and rules are there bounded by the raga. Raga are bounded by so
many rules you have to practice, whereas sopana
and the religious, devotional music have some simple framework giving full
support to the feeling, emotion of the raga. You have listened Deepti (N. her daughter) the other day.
Deepti said: there are no fluctuations, it is even.
This sopana music,
gayakas of the Kerala temples, even
now Thrikkampuram KrishnanKutty, as soon as he starts singing, he is 90- 96,
but when he starts singing his tone is very clear and it enters into the heart,
into the soul. It is the real music so it is simultaneous. It is classical, but
you cannot be compared to it. They are totally different. Classical should be
all traditional purified, controlled by the norms, the rules, regulations, should
have sections and they should have embellishments: vinyasa, niraval, etc, All the kacheri
norms should be there.The most important instrument of the sopana music is idakka (iadakka); it is
the wonderful instrument. All the notes can come out of this. It is the
accompaniment both rhythmical and melodic. So the sopana gayaka follows the idakka,
which is damaru type,
like udukku also iadakka is a bigger
form of udukku, the drum of Lord.
Shiva. At iadakka, the sound is
controlled by a rope which the player is tightening and loosing. This is how the
notes were up and down.Then the songs are also different because they are
very simple. We call them dhyanam, dhyana
means concentration (meditation), and so all these songs which are used in the temples
by the temple gayakas are called dhyanis.
Dhyanam – dhyanis. Still there we walk (N. if we want to listen). It doesn’t
come out of the walls of the temple because of it is orthodox (tradition).Because
of this, people don’t want to practice it, nobody is getting any recognition,
nobody is paying for it, nobody gets any benefit, any fame. They are told they
should sing these songs within the 4 walls of the temple. So they (the
musicians) come out, they want to practice as classical musicians the concert
forms and they get money, fame also, so they are out. This singing is dying.
The tradition, the school is dying. I try to elevate it, keep this spirit.
And
there are so many forms of music in the sopana,
it has got various dhyanis, and then there are other shlokas, then are others
pallavis, pallavam: only two lines. All these are there, they sing in a very,
very simple way. Sometimes they get this jalra,
cymbals, ghungroo and elathalam and
they accompany the music before the God. They don’t come out, and because they
don’t come out, they are dying. People don’t understand them. The tradition is
orthodox, but the amount of feeling it is inimitable. And when these musicians
sing, I just forget myself. Even now I weep, even I don’t know why I cry. It is
so much feeling there in the sopana. The
simplicity and the purity of notes.When people sing classical, they often deviate from
the real swarasthana. And often
commit mistakes because they don’t have time to concentrate. They live in touristic
climates and they are coming down.
Here it is not like that, it is an endless
silent ocean.Thomas Gray in his Elegy Written
in a Country Churchyard has wrote:“Full many a gem of purest ray serene/The dark unfathom'd caves of ocean bear/Full many a flower is born to blush unseen,/And waste its sweetness on the desert air.”
Like that are the aspects of sopana music. Sopana
rhythm is interpreted as ladder, step by step going and going down just arohana-avarohana. But there is a
difference: it is sthayi raga, Sthayisangeeta. Sthayi means when you tune your
music to one sthayi that is Sa (the fundamental) Stayi means one note on which
the musician keeps his elaboration and goes up and goes down. That is stayisangeetam
Leela
Omchery elaborates an alaap, ending by dividing the long notes in various ways
(binary, ternary, composed)
Again the speed
can be increased. So this is the alaap, totally different from Carnatic. This
is not the way in which Carnatic music is in the concept. This is a typical of
Kerala sopana music. Then they practice the ashtapati, dhyanis.
CD. Carnatic music is considered the most authentic Indian
classical music form. What do you think about the way it is perceived in the
contemporary world?.
L. O. Typical modern musicians say it is the most authentic
form. To Hindustani musicians, Hindustani is the authentic form. Sopana music is the authentic form. So it
depends upon the practitioners who believe in their style to be the best. I
don’t say Carnatic music is that. Both are. It depends upon the ability of the
musician and the emotional impact of the music. That also because sopana music is very impacted. Carnatic
music is mixed with shastra. All nuances and all the gamakas and so many are
there, grammars of concert norms are mixt. Whereas the sopana music, in the devotional music is not. It is devotion,
expressing of devotion and so it should be the simplest form. It should appeal
on the soul of the devotee. How well it can appeal it is the most important. Maybe
there is one kala
if a musician is able to transform the listener’s mind with what he sings. So
it is what the musician feels, the ability of entering into the deep emotions
of the listener. The music should appeal the listener. In what way? There may
be so many ways, slow tempo, medium tempo, fast tempo, etc. Whatever on appeals,
you follow it.
C.D. You have visited many countries and saw samples of
other cultures also. What impressed you the most in other cultures?
L. O. I visited Java, I visited Singapore, Malaysia,
England, America, but I have been a narrow visitor so I saw only the worship centers
of Indian communities. There is one thing I have seen in Malaysia.I think there
it was this huge cave, more than 100 feet. We were at a level place and on the
ceiling was a small hall and from there sunlight was come and giving
illumination to all the places at that cave. A very small ray that gives full
brightness to all. One other thing that struck me. If you strike one wall of
that cave, it will give a tone. If you strike another side, will give you
another tone. So I was told at that time that, without anybody’s effort, one
can get more than 22 sounds by touching or striking various places of that cave
Maybe this was the basis of the musical pillars.In Trivandrum there are pillars made out of a huge
single stone with maybe 22 shafts or maybe 44 or 66, which can produce
different sounds. They were used for accompanying some music, samasangeet. By
that time, there were not enough instruments and most of instruments and many
were not allowed in the temple, like nagaswaram,
because playing them would produce a lot of saliva, which is not allowed inside
the temple, so the music was accompanied with the musical pillars. But unfortunately
afterwards the people were not careful, so they damaged them. With one craft in
the shaft, the whole pillar is useless, it will not vibrate. It is the
principle of Tansen. Because in the darbar he
never allowed any instrument to follow his song. All the instruments were kept
out. And he used to hum and that purity of his nadam it went and strike one
note and it vibrates all the other. So pure vibrations.There are 4 musical pillars 44, 22, 66 shafts in one
pillar and it was used for singing sama music. And now they are out of use and are kept for
museum purpose
C. D. Do you think that in our days it is possible to keep
the traditions of the gurukulams?
L. O. Yes, but it is difficult. With great training I manage
to keep this gurukulam. Because I never take remunerations from anybody and
when the students come, as far as my limited means, I provide them tea and
food, whatever. This is possible only because my children are well placed, I
don’t have to look after them and then I have the pension. With that pension it
is more than enough to cover the simple needs. So with the rest of money I
provide and we enjoy together.
Then I never shown I am so great. Anywhere, anybody
can meet me, anybody can talk to me. My teacher used to teach me humility and
that is my weapon. That respect is my work Developing your career, nature,
you develop that nature, straight, simple, straightforward with affection. Don’t have any restriction. That will be well
in our life. What was your
greatest professional achievement?It is my music. I got the luck in learning from great,
great gurus, but in the same time I never got the opportunity to express my
talents also. It was a restriction in my orthodox family. My parents used to
tell me: you are a girl, you can’t go out of the courtyard and sing. You teach.
So finally I turned myself to the teaching. If I cannot sing, let me teach them.
So I produced a lot of students, a student community, so many. Wherever you go
you will see one or two of my disciples. That produces the fraternity. Because
I was not allowed to sing and remark in the performing field, I turned towards
teaching and research. In the field of research, nobody is a match to me. I can
proudly say that, because day and night I did nothing else other than study. I used
to go to various libraries, places, collecting materials, palm leaves. I have the
best collections.
IC. D. India the relation between music, dance, drama and spirituality is unbreakable,
the person who learns only one of these topics can understand the Indian art
and culture properly?
L. O. It is different kind because our music starts with
alaap form, starts with the triad concept: vocal music – instrumental music –
dance. All the triad is described taking the example of the child: when he is
happy, he will clap, shout and move in the same time. And here we have rhythm,
music and dance. So right from the birth these are tight together. And growing
trough the idea of Geetam vadyam tatha nrityam
trayam sangeeta muchyate. So the triads are within. And you cannot separate
one from the other .Nowadays thinking became mechanical. Because of that the
harmony is gone, the melody is gone. When they are together they will have that
unique quality.
C, D. I would like to know about your prizes and
distinctions and the books you have written.
L. O. I have 19 books
published and 4-5 translated. Some of them are price awarded. Most of them are
based on music and dance and they are unique, based on my research. In some of
them my daughter is also involved.
C. D. What is the proper age for student to start learning Carnatic
music?
L. O. There is no age.
Because many things depends on talent. Even if one starts at the age of 1, if
he is t not talented what is the use? If he is talented, at the age of 50 he
can. I know Pannalal Gosh he was a famous flutist and he started learning late
but he could make a mark. He was a great musician. And there are so many
others. My brother who is no more now, he was a playback singer and an outstanding
musician and he was in the 50’s – 60’s, around 20 years he was the crown
prince. He came late but he was an outstanding scene singer and classical
singer also .All India Radio said his record nobody can compete.
C. D. An
advice for the young students
L. O. First quality: humility. Respect for art and the
elders who teach you. Respect for your guru is your wealth that will be the
protection against anything.
Guru
Saakshaat Para Brahma Tasmai Sri Gurave Namaha
Nowadays I see in the news students beating the teachers. The relationship
between the teacher and the taught should be maintained then there is nothing,
if that is over.Nowadays, because of the bad climate, there is no proper guru,
there is no proper disciple also. Things should change. We are an old folk so
we are able to continue.You came to me. Somebody told me that I am a good
teacher. I don’t pretend I am a guru. In Tamil there is a saying. Whatever Bhagavan
(God) has given to me, it is more than enough. Why people develop miseries?
Because they forget. Whatever God has given it is more than enough, it is anand, it is joy. Then there is a way of
go deeper and achieve something. Whatever God has given, it is bliss. I don’t
want anything more. I am a lucky
lady also, because my son is very well settled and my daughter also in this
line, a good dancer, and my grandchildren also are talented. They have taken
their own way, but they are all in the family.
I have only one pray to God: let
me have the same birth again and again. Let me be born here again and again
with the same husband, with the same children, with the same family and
relatives and the same students.
definition
in Sanskrit language from Sangeeta
ratnakara treatise: geetam
(song), nrityam (dance) and vadhyam (instrumental
music) make the sangeetam.
basic
structures and characteristics
notes
About 8th-
tenth millennium BC
emotion
drama
[7] fundamental
[8] dominant[
9] drum
[10]Idiophonic instrument
[11] speed, division. It actually means time
[12] Woodwind reed instrument
[13] court
[14] Guru mantra, meaning “Guru is the absolute Lord himself, Salutations to that Sri Guru”
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