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A column, titled Reproduction of Rabindra Sangeet | A Pledge, written by Anjan Ganguly on 26.12.2016.
Published on 26th December, 2016.
It has been like an eternal question on how to personalize Rabindra sangeet; how to prove singularity of a singer. How to get rid of the vintage outfit of the exclusive art form...
Variety of thoughts have been experimented with right from the Tagorian times. Difference in the approaches of reproduction by the ashram-dwellers has been enough to cast serious doubts among the followers, students and common people. The music board that was formed to guide singers to follow a specific style of representation. Apart from imparting knowledge to the students of Shantiniketan it was responsible for screening songs before publication. Voices were regularly raised against application of the autocratic discretion and subsequently banning of songs and singers as well by the board. Often it was compared with the sensor board associated with the film industry that was more comfortable with a pair of scissors than a projector.
The necessity of the strictness was realized when Visvabharati lost the authority of holding the copyright. It appeared as if people were particularly waiting for liberation. Experimentation was rampant with bizarre musical arrangement, funky tunes and fabricated lyrics. In an unique case a popular singer was seen to introduce illegible sounds in a well-known sangeet. This deliberate act was an example of how worse can it become if the control of some kind is not there. Educated Rabindra Sangeet singers, serious listeners, researchers and hardliners took this as a violation of the norms, undignified move to de-sanitize tradition of the country and brandishing utter disrespect towards entire creation of the philosopher, the Nobel laureate, the exponent, of whom the people of Bengal boasted more than often.
Younger generation of our country have been fascinated by the glare of film and the film-stars. This world of fantasy has always been instrumental in attracting young people into the sink-hole of amusement and persistent quest for recreation. Furthermore, breaking a discipline being a characteristic feature of youth, they readily accepted the turnover and a market of concocted Rabindra Sangeet began surfacing. Meanwhile, the absence of lyricists like Gouriprasanna Majumdar, Nachiketa Ghosh had created a vacuum and the listeners along with singers were, in fact, starving for well-metered lyrics. There was an ever-increasing demand of composition that was to be satisfied with Rabindra Sangeet. In no time it was capitalised by clever bunch of professionals.
It is assumed by the Copyright law-makers that a tenure of fifty years must be enough to educate people so that they can take care of the tradition they cherish. Unfortunately in this case this is far from reality. They might not even repent if an artistic creation like Rabindra sangeet is pushed to the verge of peril.
It remains with the serious learners of the craft to decide on favour of forming a common forum, discuss and delve into the recommendations laid down by the poet. Many more singers, some of them having unquestionable musical ingenuity, have had records in their name, which are very popular, yet lacking in credibility. These songs are to be analysed and reports be released for the sake of common enthusiasts. It would not be a great idea to expect professional artists and teachers to join the forum and render their service, although amateurs must not have any prejudice and voluntarily engage themselves in order to spread out the aura of Rabindra-Darshan or Tagorian philosophy along with the tradition of singing Rabindra Sangeet among common people.
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