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{{Short description|Indian Classical Singer}} | {{Short description|Indian Classical Singer}} | ||
{{Use dmy dates|date=September 2017}} | {{Use dmy dates|date=September 2017}} | ||
{{Use Indian English|date=September 2017}} | |||
{{advert|date=December 2024}} | |||
{{Infobox person | {{Infobox person | ||
| name = |
| name = Dakalo | ||
| birth_date = |
| birth_date = 1990-09-24 | ||
| |
| death_date = | ||
| |
| occupation = Musician, rapper, producer | ||
| |
| nationality = African | ||
⚫ | | |
||
| family = | | family = | ||
⚫ | | father = | ||
| spouse = At the age of 16, on 10/6/1932, Kumar Shyamanand Singh married Rani Nirmala Devi, the daughter of Shrotriya, Pinakar Jha of Sarisab. | |||
| mother = Rani Prabhavati Devi | |||
| father = Raja Bahadur Kirtyanand Sinha | |||
}} | }} | ||
Thabo Nevhufumba''',''' also known as Dakalo/Monzol '''born''' (24 September 1990) is a ] musician. Born and raised in ] ] | |||
] (also known as Kumar Shyamanand Singh) (born July 27, 1916) was the eldest son of ] of the ] estate. As the eldest child of a Raja Shyamanad Sinha had many pursuits that were the hallmark of the aristocracy then but one that made him extraordinary was his talent and ability in ]. | |||
==Education== | ==Education== | ||
At an early age, Shyamanand Sinha played the ] and the clarinet under the guidance of an older relative. In 1935, he encountered a |
At an early age, Shyamanand Sinha played the ] and the clarinet under the guidance of an older relative. In 1935, he encountered a 78 RPM record featuring the esteemed Ustad Vishmadev Chattopadhyay from Kolkata. This record included notable renditions of "Rut Basant" in Raga Rageshri Bahar and "Piya Pardes." The profound impact of both the recordings and a subsequent performance by Ustad Vishmadev Chattopadhyay at his residence in Champanagar motivated Shyamanand Sinha to pursue formal music education from the Ustad. Consequently, Vishmadev Chattopadhyay consented to serve as his mentor, providing instruction from 1936 until 1939. Following Ustad Vishmadev Chattopadhyay's departure for the Sri Aurobindo Ashram in Pondicherry, Rajkumar Shyamanand Sinha continued his musical education, adhering to the advice of his guru. He studied with Ustad Bachu Khan Sahib of Agra from 1940 until 1962 or 1963. Furthermore, he sought guidance from several other distinguished musicians, including Ustad Muzzaffar Khan, Ustad Mubarak Ali Khan, Pandit Bholanath Bhatt, Kedarjee, Ustad Altaf Hussain Khan of Khurja, Mahaveer Mullick, and Jaduveer Mullick. | ||
==As a Classical Vocalist== | ==As a Classical Vocalist== | ||
{{peacock|date=February 2012}} | |||
Though not a professional vocalist, Shyamanand Sinha's singing was a literal feast for the listeners. He was not only blessed with a gifted voice but had tremendous natural ability to bring "pran" (life) in ragas and make them come alive in a most pleasing manner. He belonged to the old school of Hindustani classical music and believed in maintaining purity and spontaneity in performance. His rendition of bandishes, and he possessed a veritable treasure trove obtained from his gurus, was an absolute delight and mesmerised the listeners transferring the singer's sense of ecstasy to the audience in a way that very few have managed to this day. | |||
Though not a professional vocalist, Shyamanand Sinha belonged to the old school of Hindustani classical music and believed in maintaining purity and spontaneity in performance. Although he was influenced by ], he learned from many teachers and developed his own unique style of singing. | |||
He critiqued modern classical music in an interview with ], stating "''Ab to Bilaskhani me bhi wahi taan hote hain aur malhar me bhi wahi, ang mere kehne ka matlab hai''." (Free translation: Nowadays, same taans are sung in Bilaskhani as well as Malhar and the raganga is ignored). | |||
Shyamanand Sinha believed that singing was the highest form of devotion. He once stated "one cannot sing if he said he can sing", adding that only the blessings of the God and guru can enable one to sing.{{citation needed|date=February 2012}} | |||
Shyamanand Sinha believed that singing was the highest form of devotion and this reflected in his performances. President ], once when he was Governor of Bihar, was so moved by his performance that he embraced him stating that the Rajkumar's singing was like praying to the almighty. In fact, Padmashri Gajendra Narayan Singh, former Chairperson of the Bihar Sangeet Natak Academy in his book “Surile Logo ki Sangat” writes that during his long life he has seen a number of great musicians who talk about music as devotion (ibadat) but only Shyamanand Sinha has been able to follow this philosophy in real life. | |||
When President ] was Governor of Bihar, he attended a performance by Shyamanand Sinha. He was so moved that he embraced him, stating that his singing was like praying to God.<ref name=":2">{{Cite web |last=SINHA |first=GIRIJANAND |date=15 Nov 2008 |title=Banaili Roots to Raj continued---Dynasty 3rd part |url=http://girijanandsinha.blogspot.com/2008/11/banaili-roots-to-raj-continued-dynasty_3028.html |url-status=live |archive-url=https://web.archive.org/web/20231125005202/http://girijanandsinha.blogspot.com/2008/11/banaili-roots-to-raj-continued-dynasty_3028.html |archive-date=25 November 2023 |website=Mithila and Maithil}}</ref> | |||
The Agra influence on his singing was most unmistakable. But, as indicated above, he learnt from many others and developed his own unique style of singing. | |||
Padmashri ] wrote the following in his book, ''Swar Gandh'': | |||
Gajendra Narayan Singh, in his book "Swar Gandh" has written that "Kumar Shyamanand Singh of ] estate had such expertise in singing that many great singers including Kesarbai were convinced about his prowess in singing. In case you cannot believe this please ask Pandit Jasraj. After listening to Bandishes from Kumar Saheb, Jasraj was moved to tears and lamented if alas he could have such ability himself"! | |||
{{Blockquote|text="Kumar Shyamanand Singh of Banaili estate had such expertise in singing that many great singers including Kesarbai were convinced about his prowess in singing. In case you cannot believe this please ask Pandit Jasraj. After listening to Bandishes from Kumar Saheb, Jasraj was moved to tears and lamented that alas! he could have such ability himself"(free translation of Hindi text).<ref>{{Cite web |last=SINHA |first=GIRIJANAND |date=15 Nov 2008 |title=Banaili Roots to Raj continued---Dynasty 3rd part |url=http://girijanandsinha.blogspot.com/2008/11/banaili-roots-to-raj-continued-dynasty_3028.html |url-status=live |archive-url=https://web.archive.org/web/20231125005202/http://girijanandsinha.blogspot.com/2008/11/banaili-roots-to-raj-continued-dynasty_3028.html |archive-date=25 November 2023 |website=Mithila and Maithil}}</ref>}} | |||
==As Guru== | ==As Guru== | ||
⚫ | Shyamanand Sinha's regular students included Shri Sitaram Jha, Kumar Jayanand Sinha, Saktinath Jha, Shankaranand Singh, Suryananranyan Jha, Girijanand Sinha, Udyanand Singh, Jayanta Chattopadhyay,<ref>{{Cite web |title=JAYANTA CHATTOPADHYAY - BIOGRAPHY |url=http://www.vishmadev.org/JC_BIO.htm |url-status=dead |archive-url=https://web.archive.org/web/20171112023641/http://www.vishmadev.org/JC_BIO.htm |archive-date=12 November 2017 |website=Vishmadev.org}}</ref> Vandana Jha, Amar Nath Jha, Kaushal Kishore Dubey, Shyam Chaitanya Jha, Vijay Kumar Jha and Ram Sharan Sinha.<ref name=":2" /> | ||
Along with his singing prowess, his legendary voice made a tremendous mark on one and all who came in touch with him. This included some great contemporary singers like Kesarbai Kerkar. Kesarbai in the 1940s was visiting Champanagar, residence of the Shyamanand Sinha, for a performance and was so enthused by Rajkumar's rendition of "Dwarikanath Sharan Me Teri" that she insisted that she would not leave till the “Maharaja Kumar” had taught her at least one thumri and one bhajan. She even expressed her readiness to make him her gandabandh Guru. After some hesitation, as Kesarbai then was an acknowledged maestro and he still young and yet in his early days, he agreed. Kesarbai sang this composition on a few occasions later, most notably in ] but admitted that she had been able to learn only the sthayi and had done up the antara herself while acknowledging her "Guru" for the song. | |||
On one occasion, ] attended a performance of Shyamanand Sinha. At the time, Shyamanand Sinha was a young man and Kesarbai was a widely respected singer. She was so impressed by his rendition of "Dwarikanath Sharan Me Teri" that she asked him to teach it to her.<ref name=":2" /> Whenever Kesarbai sang this composition in future, she acknowledged Shyamanand Sinha as her "Guru" for the song. | |||
⚫ | |||
Every year on his birth anniversary a classical musical program is organized in ] in his memory. | |||
Unfortunately, the excellence of his singing style and tradition did not survive his death though his influence stayed with some of his disciples who are striving hard to keep the flame burning in ]. | |||
==Public Acclaim== | ==Public Acclaim== | ||
Shyamanand Sinha was not a professional musician and rarely performed in public. Most of his performances were impromptu at his residence in Champanagar, and he was known to stop singing if he was no longer in the mood to perform. Although he was not interested in fame, his followers called him “Sangeet Bhaskar” and “Sangeet Sudhakar” because of his mastery in classical singing. | |||
Not a professional musician, he sang for his own pleasure and which reflected in his singing. He was prone to stop singing in the middle of a performance, whenever he felt mood was deserting him, saying "ab tabyat nahi lagti bhai". This made it difficult to plan a concert around him. However, many of his admirers still managed to get him out for public performances in many places. However, in general, he shunned music as a profession and never sought public recognition. As mentioned earlier, he rarely gave public performances, most of his performances being during impromptu baithaks at his residence in Chamapanagar in the presence of his admirers and disciples. Go and ask some of these who were fortunate to listen and they would narrate the experience in a daze as if re-visiting the emotion he generated when he sang. | |||
Despite his strong reluctance for public acknowledgement, his followers conferred him with the title of Sangeet Bhaskar and Sangeet Sudhakar for his mastery in classical singing. | |||
==As a patron of Classical Music== | ==As a patron of Classical Music== | ||
Shyamanand Sinha was also a patron of classical music. |
Shyamanand Sinha was also a patron of classical music. In his book, ''Sangeetangyon ke Sansmaran,'' Ustad Vilayat Hussain Khan wrote: "There is no better connoisseur and cognoscente of music in Bihar than Kumar Shyamanand Singh" (free translation of Hindi text). He was one of the chief patrons of the All India Music Conference and presented the convocation address at the 11th All India Music Conference of the Prayag Sangit Samiti at ] on 19 December 1948. | ||
He was a patron of many maestros of ], using his residence at Champanagar as a place of learning and development of classical music. Ustad Salamat Ali Khan,<ref name=":0">{{Cite web |title=Ustad Salamat Ali Khan |url=http://www.sadarang.com/Ustad%20salamat%20ali%20khan.htm |url-status=dead |archive-url=https://web.archive.org/web/20120615185836/http://www.sadarang.com/Ustad%20salamat%20ali%20khan.htm |archive-date=15 June 2012 |website=Sadarang Archives}}</ref><ref name=":1">{{Cite web |last=Shahid |first=S.M. |title=Ustad Salamat Ali Khan |url=http://www.virsaonline.com/Articles/Articles%2004.htm#selection-365.0-365.22 |url-status=dead |archive-url=https://archive.today/20061103163958/http://www.virsaonline.com/Articles/Articles%2004.htm#selection-365.0-365.22 |archive-date=3 November 2006 |website=VirsaOnline.com}}</ref> Ustad Altaf Hussain Khan of Khurja, Ustad Bachu Khan Sahib and many others were provided residence and patronage in Champanagar. | |||
It is narrated that, in 1944, at the time of the Dasehra festival, he invited Ustad Salamat Ali Khan and Nazakat Ali Khan to perform at his palace. Kumar Saheb was so enthused by the expert rendition of Raag Malkaus that he would not allow them to leave Champanagar. The boys and their father stayed as guests of the Rajkumar for nearly two months. He also was responsible for sending them to All India Music Conference as his court musicians where they received wider recognition for the first time. Similarly, Pandit Channulal Mishra’s first performance as a young artiste was at Champanagar for Kumar Saheb. After listening to him, Kumar Saheb wanted to keep the boy at Champanagar as his court musician. However, Mishra’s parents wished otherwise. | |||
Shyamanand Sinha also invited many great maestros for performances, among them were "Aftab-e-Maushiqi" Ustad ],<ref>{{Cite book |last=Wade |first=Bonnie C. |url=https://books.google.com/books?id=MiE9AAAAIAAJ&q=champanagar&pg=PA96 |title=Khyal: Creativity Within North India's Classical Music Tradition |publisher=Cambridge University Press |year=1985 |isbn=9780521256599}}</ref> Ustad Bade Ghulam Ali Khan, Ustad Mubarak Ali Khan, Ustad Nisaar Hussain Khan, Pandit ], Surshri Kesarbai Kerkar, Sawai Gandharva, Ustad Vilayat Hussain Khan, Ustad Hafiz Ali Khan, Ustad Altaf Hussain Khan of Khurja, ], Dilip Chand Vedi, Ustad Mushtaq Hussain Khan, Pandit Narayanrao Vyas, Pandit ], and Ustad Salamat Ali Khan and Nazakat Ali Khan,<ref name=":2" /> Malang Khan (Pakhawaj), Allauddin Khan (Sarod), Mushtaq Ali (Sitar), Pandit Bholanath Bhatt, Pandit Chinmay Lahiri, Mahaveer Mullick, Jaduveer Mullick and Ramchatur Mallick.<ref name=":2" /> Ustad Yunus Hussian Khan refers to "Raja Shyamanand Singh of Chamapanagar" as having invited him to sing on the occasion of his son's marriage.<ref>{{Cite web |title=Late Ustad Yunus Hussain Khan |url=http://www.agragharanarukavipa.org/artists/past/yunus_hussain_khan.htm |url-status=dead |archive-url=https://web.archive.org/web/20080902054344/http://www.agragharanarukavipa.org/artists/past/yunus_hussain_khan.htm |archive-date=2 September 2008 |website=The official website of Agra Gharana for Indian Classical Music}}</ref> | |||
In 1944, Shyamanand Sinha invited Ustad ] and Nazakat Ali Khan to perform at Champanagar during ].<ref name=":0" /> He was so impressed by their rendition of "Raag Malkaus" that he asked them to stay with him longer. The boys and their father stayed for nearly two months. He was responsible for sending them to the All India Music Conference, where they received wider recognition for the first time.<ref name=":1" /> | |||
Pandit ]'s first performance as a young artist was at Champanagar for Shyamanand Sinha.<ref>{{Cite news |last=RAMNARAYAN |first=GOWRI |date=31 October 2010 |title=Best of Benares |url=https://www.thehindu.com/features/friday-review/music/Best-of-Benares/article15799682.ece |url-status=live |archive-url=https://web.archive.org/web/20240522040152/https://www.thehindu.com/features/friday-review/music/Best-of-Benares/article15799682.ece |archive-date=22 May 2024 |access-date=22 May 2024 |work=]}}</ref> | |||
==Recordings== | ==Recordings== | ||
Line 52: | Line 58: | ||
==References== | ==References== | ||
{{Reflist}}{{authority control}} | |||
{{Reflist}}{{authority control}}A '''Khayal in Shuddh Sarang - Barsan Garjan''' (Kumar Saheb while recording tthis bandish said, "Shudh Sarang me isse achcha Khayal mere kano me nahi para hai". This clip is not the AIR rendition but another one for circa 1964). | |||
'''Bandish ki Thumri in Khamaj - Awat Shyam''' (it is a full clip recorded circa 1975 and was one of his favourites that he taught to almost all his disciples) | |||
] | ] | ||
] | ] |
Revision as of 11:09, 5 January 2025
Indian Classical Singer
This article contains promotional content. Please help improve it by removing promotional language and inappropriate external links, and by adding encyclopedic text written from a neutral point of view. (December 2024) (Learn how and when to remove this message) |
Dakalo | |
---|---|
Born | 1990-09-24 |
Nationality | African |
Occupation(s) | Musician, rapper, producer |
Thabo Nevhufumba, also known as Dakalo/Monzol born (24 September 1990) is a Hip-Hop musician. Born and raised in Phalaborwa Limpopo
Education
At an early age, Shyamanand Sinha played the harmonium and the clarinet under the guidance of an older relative. In 1935, he encountered a 78 RPM record featuring the esteemed Ustad Vishmadev Chattopadhyay from Kolkata. This record included notable renditions of "Rut Basant" in Raga Rageshri Bahar and "Piya Pardes." The profound impact of both the recordings and a subsequent performance by Ustad Vishmadev Chattopadhyay at his residence in Champanagar motivated Shyamanand Sinha to pursue formal music education from the Ustad. Consequently, Vishmadev Chattopadhyay consented to serve as his mentor, providing instruction from 1936 until 1939. Following Ustad Vishmadev Chattopadhyay's departure for the Sri Aurobindo Ashram in Pondicherry, Rajkumar Shyamanand Sinha continued his musical education, adhering to the advice of his guru. He studied with Ustad Bachu Khan Sahib of Agra from 1940 until 1962 or 1963. Furthermore, he sought guidance from several other distinguished musicians, including Ustad Muzzaffar Khan, Ustad Mubarak Ali Khan, Pandit Bholanath Bhatt, Kedarjee, Ustad Altaf Hussain Khan of Khurja, Mahaveer Mullick, and Jaduveer Mullick.
As a Classical Vocalist
This article contains wording that promotes the subject in a subjective manner without imparting real information. Please remove or replace such wording and instead of making proclamations about a subject's importance, use facts and attribution to demonstrate that importance. (February 2012) (Learn how and when to remove this message) |
Though not a professional vocalist, Shyamanand Sinha belonged to the old school of Hindustani classical music and believed in maintaining purity and spontaneity in performance. Although he was influenced by Agra gharana, he learned from many teachers and developed his own unique style of singing.
He critiqued modern classical music in an interview with AIR, stating "Ab to Bilaskhani me bhi wahi taan hote hain aur malhar me bhi wahi, ang mere kehne ka matlab hai." (Free translation: Nowadays, same taans are sung in Bilaskhani as well as Malhar and the raganga is ignored).
Shyamanand Sinha believed that singing was the highest form of devotion. He once stated "one cannot sing if he said he can sing", adding that only the blessings of the God and guru can enable one to sing.
When President Zakir Hussain was Governor of Bihar, he attended a performance by Shyamanand Sinha. He was so moved that he embraced him, stating that his singing was like praying to God.
Padmashri Gajendra Narayan Singh wrote the following in his book, Swar Gandh:
"Kumar Shyamanand Singh of Banaili estate had such expertise in singing that many great singers including Kesarbai were convinced about his prowess in singing. In case you cannot believe this please ask Pandit Jasraj. After listening to Bandishes from Kumar Saheb, Jasraj was moved to tears and lamented that alas! he could have such ability himself"(free translation of Hindi text).
As Guru
Shyamanand Sinha's regular students included Shri Sitaram Jha, Kumar Jayanand Sinha, Saktinath Jha, Shankaranand Singh, Suryananranyan Jha, Girijanand Sinha, Udyanand Singh, Jayanta Chattopadhyay, Vandana Jha, Amar Nath Jha, Kaushal Kishore Dubey, Shyam Chaitanya Jha, Vijay Kumar Jha and Ram Sharan Sinha.
On one occasion, Kesarbai Kerkar attended a performance of Shyamanand Sinha. At the time, Shyamanand Sinha was a young man and Kesarbai was a widely respected singer. She was so impressed by his rendition of "Dwarikanath Sharan Me Teri" that she asked him to teach it to her. Whenever Kesarbai sang this composition in future, she acknowledged Shyamanand Sinha as her "Guru" for the song.
Every year on his birth anniversary a classical musical program is organized in Purnea in his memory.
Public Acclaim
Shyamanand Sinha was not a professional musician and rarely performed in public. Most of his performances were impromptu at his residence in Champanagar, and he was known to stop singing if he was no longer in the mood to perform. Although he was not interested in fame, his followers called him “Sangeet Bhaskar” and “Sangeet Sudhakar” because of his mastery in classical singing.
As a patron of Classical Music
Shyamanand Sinha was also a patron of classical music. In his book, Sangeetangyon ke Sansmaran, Ustad Vilayat Hussain Khan wrote: "There is no better connoisseur and cognoscente of music in Bihar than Kumar Shyamanand Singh" (free translation of Hindi text). He was one of the chief patrons of the All India Music Conference and presented the convocation address at the 11th All India Music Conference of the Prayag Sangit Samiti at Allahabad on 19 December 1948.
He was a patron of many maestros of Hindustani Classical Music, using his residence at Champanagar as a place of learning and development of classical music. Ustad Salamat Ali Khan, Ustad Altaf Hussain Khan of Khurja, Ustad Bachu Khan Sahib and many others were provided residence and patronage in Champanagar.
Shyamanand Sinha also invited many great maestros for performances, among them were "Aftab-e-Maushiqi" Ustad Faiyaz Khan, Ustad Bade Ghulam Ali Khan, Ustad Mubarak Ali Khan, Ustad Nisaar Hussain Khan, Pandit D.V. Paluskar, Surshri Kesarbai Kerkar, Sawai Gandharva, Ustad Vilayat Hussain Khan, Ustad Hafiz Ali Khan, Ustad Altaf Hussain Khan of Khurja, Pandit Jasraj, Dilip Chand Vedi, Ustad Mushtaq Hussain Khan, Pandit Narayanrao Vyas, Pandit Basavaraj Rajguru, and Ustad Salamat Ali Khan and Nazakat Ali Khan, Malang Khan (Pakhawaj), Allauddin Khan (Sarod), Mushtaq Ali (Sitar), Pandit Bholanath Bhatt, Pandit Chinmay Lahiri, Mahaveer Mullick, Jaduveer Mullick and Ramchatur Mallick. Ustad Yunus Hussian Khan refers to "Raja Shyamanand Singh of Chamapanagar" as having invited him to sing on the occasion of his son's marriage.
In 1944, Shyamanand Sinha invited Ustad Salamat Ali Khan and Nazakat Ali Khan to perform at Champanagar during Dasehra. He was so impressed by their rendition of "Raag Malkaus" that he asked them to stay with him longer. The boys and their father stayed for nearly two months. He was responsible for sending them to the All India Music Conference, where they received wider recognition for the first time.
Pandit Channulal Mishra's first performance as a young artist was at Champanagar for Shyamanand Sinha.
Recordings
Because of Shyamanand Sinha's personal opinion against recording, few recordings of him exist today. Professional recordings done by All India Radio in the latter part of his life have been lost. A few amateur recordings of his singing have been preserved by his family members and friends, including Kumar Girijanand Sinha and Santosh Jha.
References
- ^ SINHA, GIRIJANAND (15 November 2008). "Banaili Roots to Raj continued---Dynasty 3rd part". Mithila and Maithil. Archived from the original on 25 November 2023.
- SINHA, GIRIJANAND (15 November 2008). "Banaili Roots to Raj continued---Dynasty 3rd part". Mithila and Maithil. Archived from the original on 25 November 2023.
- "JAYANTA CHATTOPADHYAY - BIOGRAPHY". Vishmadev.org. Archived from the original on 12 November 2017.
- ^ "Ustad Salamat Ali Khan". Sadarang Archives. Archived from the original on 15 June 2012.
- ^ Shahid, S.M. "Ustad Salamat Ali Khan". VirsaOnline.com. Archived from the original on 3 November 2006.
- Wade, Bonnie C. (1985). Khyal: Creativity Within North India's Classical Music Tradition. Cambridge University Press. ISBN 9780521256599.
- "Late Ustad Yunus Hussain Khan". The official website of Agra Gharana for Indian Classical Music. Archived from the original on 2 September 2008.
- RAMNARAYAN, GOWRI (31 October 2010). "Best of Benares". The Hindu. Archived from the original on 22 May 2024. Retrieved 22 May 2024.