Changes between Initial Version and Version 1 of Khayal Gatha

Jul 29, 2012, 6:17:27 PM (9 years ago)



  • Khayal Gatha

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     1'''Khayal Gatha''' 
     4aka Khayal Saga 
     51988 103’ col Hindi 
     6d/s Kumar Shahani pc Madhya Pradesh Film 
     7Dev. Corp., Bombay Cinematograph 
     8dial Ashmaki Acharya, Kamal Swaroop 
     9c K.K. Mahajan m supervision Roshan Shahani 
     10lp Mita Vasisth, Birju Maharaj, Alaknanda 
     11Samarth, Rajat Kapoor, Navjot Hansra, Mangal 
     13Rather than imbuing stories about 
     14contemporary conditions with epic dimensions 
     15(cf. Maya Darpan, 1972; Tarang, 1984), 
     16Shahani here addresses the epic forms directly 
     17in a film about the Khayal, a form of classical 
     18music established in the 18th C., based on the 
     19earlier Dhrupad which it then adapted, 
     20mobilising elements of other classical and folk 
     21literatures and music. For Shahani, the crucial 
     22relevance of this music to the cinema resides in 
     23its theory of the shruti, the subdivisions 
     24between given notes in a raga which eventually 
     25yield a continuous scale and prove that ‘you 
     26can only name approximations, never 
     27absolutes’ (1986). By emphasising sequence 
     28rather than discrete notes or the rhythmic cycle, 
     29musical elaboration could be based on 
     30improvisation so that, like jazz or other musical 
     31forms emerging from oppression, it was able to 
     32resist all efforts at encoding while remaining 
     33free to assimilate the widest range of musical 
     34elements from as far as Central Asia, Turkey 
     35and Persia. The film merges the history of the 
     36Khayal form with several legends associated 
     37with it: e.g. the legends of Rani Rupmati 
     38(Vasisht) and Baaz Bahadur (Dhillon), Heer- 
     39Ranjha, Nala-Damayanti and others (some 
     40invented for the film). These legends are then 
     41worked into some of the key figurations 
     42determining the Khayal narrative, such as the 
     43nayika and the object of the address, and the 
     44sakhi. A music student (Kapoor) moves 
     45through these epochs and legends. The result 
     46is a visually stunning narration condensing 
     47legend, history and poetry, emphasising 
     48hybridity in all cultural practices. The key 
     49musical contributions are by some of the 
     50foremost musicians from the Gwalior gharana, 
     51the oldest of the several that exist, including 
     52Krishnarao Shankar Pandit, Sharatchandra 
     53Arolkar, Jal Balaporia and Neela Bhagwat. 
     54Shahani also uses the dance of Birju Maharaj, 
     55India’s top Kathak dancer.