Music and dance were important markers of modern refinement that aided one’s chances in the marriage circuit. Yet for all its informality, music and dance were somewhat like finishing school, because a great many middle-class women in Bombay could still imagine the possibility of an arranged marriage, even if many contested it in practice. When the lesson for the day ended, the space of musical instruction reverted back to a domestic apartment occupied by the instructor and his family. Often, in a very small room five students sat on the floor in a close circle, each one propping up her tanpura, facing the instructor. Classes (music in particular) were often conducted in rooms no larger than Small schools, often named after the instructor (Gokhale Music School, for instance), dotted the urban landscape. For middle-class women in Maharashtra, attending one of these performances was the logical extension of having augmented one’s college education with music and dance instruction. Both types of performances were part of the everyday life of music in modern India. In addition to these informal, quickly put together baithaks, there were also the formal performances held in places like the National Center for the Performing Arts or the auditorium of the Dadar Matunga Music Circle. The tapes of the evening’s performance would subsequently circulate in an informal economy among the cognoscenti.
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The audience would often consist of no more than twenty people, and we sat on the floor and listened to music that was recorded without the benefit of a professional studio. It was not unusual to hear from my uncle, Prabhakar Jathar, himself a music critic and musician, that Kumar Gandharva’s student, to give one example, was giving a baithak in a common friend’s living room. Growing up as a teenager in Bombay and Pune, I attended a number of music recitals, formal and informal, in people’s houses and in auditoriums.
Printed in the United States of America on acid-free paper Two men and music : nationalism in the making of an Indian classical tradition / Janaki Bakhle. Library of Congress Cataloging-in-Publication Data Bakhle, Janaki. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Madison Avenue, New York, New York Oxford is a registered trademark of Oxford University Press All rights reserved. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine VietnamĬopyright © by Oxford University Press Published by Oxford University Press, Inc. TWO MEN AND MUSIC Nationalism in the Making of an Indian Classical Traditionģ Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education.
Two Men and Music: Nationalism in the Making of an Indian Classical Tradition
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