Purab Anga Gayaki: A tradition at the crossroads

Account subscription benefits alongside Premium Stories, Editorials, Opinions and more. Unlock these with Subscription

Girija Devi, the queen of Purab Ang Gayaki. | Photo Credit: S.R. Raghunathan

In the wake of Purab Anga Gayaki’s revival and consequent popularity in Bengal, it is becoming evident that this rich style is undergoing a gradual transformation. Its rural charm seems to be giving way to a glitzy, urbane showmanship that thrives on khayal’s ornate style. I hear many young vocalists making thumris walk on stilettos of complex taans. The seasonal kajris in thumri (read: khayal) anga are also being treated in the same way. Is this a desirable trend?

To analyse this issue, the Purab Anga Gayaki (PAG) Parivar, with the support of Sree Satyananda Devayatan, recently organised a baithak at Devayatan Hall. It brought together the gurus and scholars associated with the PAG Project, patronised by Vinod Kapur, the inspiring personality behind the VSK Baithak, in New Delhi.

Almost two decades ago a nationwide talent hunt was launched as ‘Purab Anga Gayaki Utsav’ by Vinod Kapur as the first step to bring the gayaki out of khayal’s shadows and establish it as an independent style. Guided by guru Girija Devi, vidushi Purnima Chaudhuri and other eminent musicians, he identified many talents with desired mizaj for thumri, dadra, kajri, and chaiti that come under the umbrella of Purab Anga Gayaki.

The visionary found Bengal as a treasure trove of this emotive, pada-pradhan (lyric-based) gayaki, because Bengalis took to it like fish to water. Girija Devi’s (Appaji) passing in 2017, preceded by Purnima Chaudhuri’s untimely demise, was a huge setback. Yet, unfazed, Vinod Kapur encouraged the contestants to pursue advanced training and research under gurus such as Manju Sundaram (Benares) and Dalia Rahut (Kolkata). As a result, the PAG Parivar stands out for its authenticity, refusing to lean on the sensibilities of khayal, while maintaining its classicism.

My brief introductory speech explored how our ancestors communicated through pleasing frequencies of sound, drawn from Nature, which formed syllables and resonated within the human body. These sounds evolved into melodic notes, with melody becoming an outpouring of joy and sorrow. Over thousands of years, some melodies were shaped by grammar and evolved into classical music, while those that resisted such formats became folk songs.

Siddheshwari Devi’s repertoire encompassed khayals, dhrupads, dadras, tappas, kajris, chaitis, horis and bhajans. | Photo Credit: Special Arrangement

The Purab Anga Gayaki represents a vast repository of women’s emotions, often caged by the social changes of the medieval period when women were confined to their homes, while their lovers or husbands lived in ‘pardes’ to earn a livelihood. These songs portrayed a pining nayika, particularly during the monsoon festivities, for example — ‘Chhayi kari badariya anganawa ho Ram…. morey sainya bidesawa se na aaye ho’.

Sudha Dutta, Appaji’s daughter, was born and brought up in Benares, and had witnessed kajri related rituals as a child. She corroborated that ritualistic songs form a major part of the gayaki.