Book Review | Arun Kashalkar And The Wondrous World Of Khayals

Sumana Ramanan’s The Secret Master is not just a book about her guru, veteran vocalist Arun Kashalkar. It also traces the origins of khayal, current khayal gharanas, and pitfalls in the world of performing arts, all in the context of khayals. A meticulously researched, beautifully articulated book, The Secret Master is aimed at the serious reader, already familiar with the world of vocal music and musicians. However, her research is confined only to Maharashtra.

There are detailed discussions on compositions, which can be irrelevant to the non-singer, but Ramanan tries earnestly to make her musical points. Yet, the book also enunciates some very basic tenets of Indian classical music, thus including the music lover who may not be so knowledgeable, making this book a comprehensive read on the subject.

Moving between time, the book traces the musical journey of Arun Kashalkar, interspersed with viewpoints of his students, his teaching sessions as well as a perspective on khayals. Perhaps a tad long winded and repetitive, the book also traces the musical journeys of Kashalkar’s students with their guru, with exhaustive details of several concerts they sang with him.

Ramanan’s political views creep into her discourse, too, making this book a very personal read. The commentaries on the major gharanas, the difference of their styles and motivation of progression are interesting, made by a practitioner. Detailing the major organisers of music festivals in Maharashtra, Ramanan includes individuals who matter, thus giving an overview of the whole eco system of music.

Arguably, the most relevant portions of the book are Ramanan’s perceptive analysis of what ails the world of North Indian (Hindustani) classical music, its total reliance on patronage for audiences, and the dominance of a handful of musicians on the major concert platforms. The resultant dilution of the art form is perhaps inevitable, but classical music has always been presented for two audiences — the discerning and the lay listener. Perhaps expecting a practitioner to appeal to both is unrealistic?

The story of Arun Kashalkar who never became a mainstream popular musician despite his talent and training is sad; but as most traditional musicians of an earlier generation used to say, you should become a musician only if you are a ‘fakir’ by nature, and want to pursue the art for the arts sake. Arun Kashalkar is one such ‘fakir’; unable to resist his lifelong pull of music.

The Secret Master

By Sumana Ramanan

Context Books

pp. 466; Rs 899