- Benares gharana
Benares gharānā is one of the six most common styles of playing of the Indian
tabla .The
Benares tabla gharana was developed a little over 200 years ago by the legendary PanditRam Sahai (1780-1826). Ram Sahai began studying the tabla with his father from the age of five. At the age of nine, he moved toLucknow to become the disciple of Modhu Khan of the Lucknow gharānā. When Ram Sahai was seventeen years old, Wazir Ali Khan, the new Nawab, asked Modhu Khan if Ram Sahai could perform a recital for him. Modhu Khan agreed, on the condition that Ram Sahai would not be interrupted until he finished playing. It is said that Ram Sahai played for seven consecutive nights. After this incredible performance, Ram Sahai was praised by all the members of the community and was showered with gifts. Shortly after this performance, Ram Sahai returned to Benares.After some time performing in Benares, Ram Sahai felt the need to make a significant change in his tabla playing. For six months, he withdrew into seclusion, and worked to develop what is now known as the Benares baj or style of tabla playing. The philosophy behind this new style of tabla playing is that it would be versatile enough to perform solo, and to accompany any form of music or dance. The tabla would be able to play delicately, as required for
khyal , or more aggressively, like pakhawaj, for the accompaniment ofdhrupad orkathak dance. Ram Sahai developed a new way of fingering the tabla strokes; especially important is the sound Na, being played with a curved ring finger to allow for maximum resonance of the dahina. He also composed numerous compositions within existing compositional forms (gats ,tukras ,parans etc.) and created new forms, such as uthan, Benarsi theka, and fard.Today, the Benares tabla gharana is well known for its powerful sound, though it is important to note that Benares players are also very capable of playing delicately and sensitively. The gharana is categorized into the Purbi (eastern) baj, which includes the Farukhabad, Lucknow, and Benares gharanas. The Benares style makes use of the more resonant strokes of tabla, such as Na (played on the lao), and Din. Benares players preferentially use the full-hand TeTe strokes, rather than the single finger alternation preferred by the Delhi style, though both stroke types are integrated into the Benares baj repertoire. Benares tabla players are successful in all forms of tabla playing, including tabla solo, instrumental, vocal, and dance accompaniment. The tabla solo is highly developed in the Benares gharana, and some artists, such as Pandit
Sharda Sahai , PanditKishan Maharaj , and PanditShamta Prasad , have become famous as tabla soloists. New generation of tabla players of Benares Gharana are Pt. Kumar Bose, Pt. Samar Saha, Pt. Balkrishna Iyer, Sandeep Das, Partha Sarathi Mukherjee, Sukhwinder Singh Namdhari, Vineet Vyas and others.The Benares baj makes use of over twenty different compositional types, and has an enormously varied repertoire of each type.
References
*Sahai, Sharda and Shepherd, Frances A. 2000 "Play Tabla, A Manual for Tabla Playing". Sittingbourne: Asian Education Press.
*Shepherd, Frances A. 1976 "Tabla and the Benares Gharana". Ann Arbor: University Microfilms International. (Ph.D. Dissertation).External links
* [http://www.shawnmativetsky.com/benares.html Benares Tabla Gharana]
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