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वाह उस्ताद : फनकार और सुनकार का साझा घराना

प्रवीण कुमार झा की किताब ‘वाह उस्ताद’ की समीक्षा लिखी है डॉक्टर असित कुमार गोस्वामी ने। देश विदेश में  अपनी कला का प्रदर्शन कर चुके सितार वादक और साहित्य प्रेमी डॉ असित गोस्वामी वर्तमान में बीकानेर के राजकीय कन्या महाविद्यालय में एसोसिएट प्रोफेसर हैं. यह किताब राजपाल एंड संज से प्रकाशित है-

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डॉ० प्रवीण झा पेशे से चिकित्सक हैं. इसके अलावा सोशल मीडिया पर उनकी ख्याति  विविध विषयों पर उनके रोचक शैली में लिखे लेखों और टिप्पणियों के कारण  अधिक है. खेल, विज्ञान, यात्रा, संगीत, इतिहास जैसे विविध विषयों पर उनकी चुटीली किन्तु  शोधपरक लेखनी की गवाह उनकी विभिन्न पुस्तकें हैं. आइसलैंड और नीदरलैंड पर उनके यात्रा वृत्तान्त, चमनलाल की डायरी और  गिरमिटिया इतिहास पर उनकी    उनकी हाल ही में प्रकाशित  बहुचर्चित  खोजपरक पुस्तक कुली लाइंस उनकी बहुरंगी  लेखनी की शहादत हैं. इसी कड़ी में संगीत के गायन वादन के प्रसिद्ध घरानों पर राजपाल एंड संस द्वारा प्रकाशित उनकी ताज़ा पुस्तक “वाह उस्ताद : हिन्दुस्तानी संगीत घरानों के किस्से” अत्यंत महत्त्वपूर्ण है. मंझोले आकार में कुल 160 पृष्ठों की यह  पुस्तक छोटे पैकेट में बड़ा धमाका भी कही जा सकती है.

यह पुस्तक संगीत के एक गूढ़ विषय ”घराने” एवं “शैलियों” के बारे  में है. प्रथम दृष्टया यह विषय पाठक से संगीत की एक विशेष स्तर तक की समझ की अर्हता की मांग करता जान पड़ता है. ऐसी समझ जो दो घरानों या शैलियों की गायकी में अंतर कर सके. परन्तु इसकी किस्सों में पिरोई हुई शैली इस अर्हता को नकारती भी चलती है. पुस्तक की भूमिका में ही लेखक ने स्वयं कहा भी है –  “यह सफ़र तो बस शुरुआत है संगीत के एक पहलू को समझने की. तकनीकी बातें कम हैं, किस्से कहानियां ज्यादा हैं. हाँ, इन किस्सों के बीच अपनी समझ से कुछ बारीक़ बातें भी पिरोई हैं. लेकिन उनका अनुपात बिलकुल चिकित्सकीय ‘लो-डोज़’ है, कि कड़वी न लगे.” पुस्तक का प्रयोजन ऐसे लोगों में संगीत घरानों के विषय में जागरूकता पैदा करना है जो ‘संगीत के विशारद’ नही है, या जो संगीत के ‘फनकार नहीं, बल्कि केवल  सुनकार’ हैं.  इस लिहाज़ से यह पुस्तक अपने उद्देश्य में सफल ही कही जानी चाहिए.

पुस्तक में ग्वालियर, आगरा,  सेनिया, सेनिया मैहर, जयपुर-अतरौली, भिन्डी बाज़ार और इंदौर, इटावा, पटियाला, मेवात, रामपुर सहसवान, किराना, शाम चौरासी, डागुर , बनारस, दिल्ली और साजों के घरानों को एक-एक अध्याय में वर्णित किया गया है. इसके अतिरिक्त परिशिष्ट में रागों के गाने/बजाने के समय, बंदिशों के रचयिताओं के नाम, संगीत सम्बंधित शब्द, और सन्दर्भ ग्रंथों की सूची भी दी गयी हैं.

यह पुस्तक जितनी जानकारी देती है उतने ही प्रश्न और जिज्ञासाओं को भी उकसाती चलती है. अत्यंत संक्षिप्त ( डेढ़ पेज) के पहले अध्याय  में उन्होंने मूलभूत प्रश्न उठाया है- ”घराना क्या है?”. कम से कम तीन पीढ़ियों तक चलने पर ही  घराना कहलाए जाने की मान्य परिभाषा पर प्रश्न उठाते हुए लेखक कहते हैं कि इंदौर घराना केवल एक पीढ़ी होने के बावजूद मान्यता पा गया जबकि कई पीढ़ियों तक चलने के बावजूद भी दिल्ली घराना को घराना मानने में कई विद्वान अब भी झिझकते हैं.

“संगीत घरानों के उद्गम स्थान” को दर्शाता हुआ भारत का मानचित्र आरम्भ में दिया गया है. इस मानचित्र पर नजर डालने पर कुछ फौरी जिज्ञासाएं हुई.  घराने उत्तर में ही हुए दक्षिण में क्यों नहीं? यों दक्षिण में भी शैलियों की भिन्नता तो रही ही होगी। पर उत्तर की तरह घराना व्यवस्था नहीं बन पाई। दक्षिण में भी राज दरबार थे। पर क्या वहां दरबारी गवैये/ वादक नहीं रहे होंगे? क्या दक्षिणी संगीत मंदिरों में ही अधिक पनपा, राजदरबारों में नहीं? क्या इसलिए वहां की शैली सामूहिकता आधारित हो गई बजाय व्यक्तिगत विशेषताओं पर आधारित होने के? वहां शायद गुरूओं/ उस्तादों की वैसी महिमा/ बखान न हो जैसा उत्तर में । बल्कि वहाँ के नृत्यों में तो गुरु स्वयं प्रदर्शक कलाकार ही नहीं होते हैं, वे केवल गुरु ही होते हैं.

ग्वालियर घराने पर उचित ही बहुत  लंबा अध्याय है. इसमें ग्वालियर घराने की वंश परम्परा उनकी गायकी की विशेषताओं और और उनकी पारंपरिक बंदिशों की जानकारी रोचक किस्सों के ज़रिये होशियारी से दी गयी है. इस तथ्य का भी विवेचन इस अध्याय में किया गया है कि उन्नीसवीं सदी के अंत और बीसवीं सदी के आरम्भ में संगीत उस्तादों, राज दरबारों और सेठ साहूकारों की व्यक्तिगत महफ़िलों की जकड़ बंदी से मुक्त होना शुरू हुआ  और आम आदमी तक इसकी पहुँच  बननी शुरू हुई और संगीत को संभ्रांत समाज में हेय समझे जाने के पूर्वग्रह  भी कम होने शुरू हुए. गन्धर्व महाविद्यालय की चर्चा करते समय डॉ० झा लिखते हैं- “संगीत यह का बुलबुला जितनी तेज़ी से फैला  उतनी  ही तेज़ी से ओंधे मुंह गिरा…….आज पीछे मुड़कर देखें तो उन हज़ार विद्यार्थियों में से दस नाम ढूँढने कठिन होंगे. उनके सबसे  प्रिय विद्यार्थी  विनायक पटवर्धन भी कोर्स पूरा करने के बाद छुप-छुप कर रहमत खान और बालकृष्ण बुवा से ‘असल’ संगीत सीखने लगे.”  यहाँ प्रवीण उस बड़ी बहस की तरफ चतुराई से इशारा कर रहे प्रतीत होते हैं कि संगीत की अकादमिक शिक्षा और परम्परागत गुरु-शिष्य परम्परा में से कौनसी कारगर है? यहाँ एक उल्लेख करना ज़रूरी लगता है कि दत्तात्रेय विष्णु पलुस्कर के गुरुओं में सबसे प्रमुख रहे नारायण राव व्यास का नाम उनके गुरु के रूप में  नहीं मिला जबकि उनकी गायकी नारायण राव व्यास से ही अधिक प्रभावित है.

झा आगरा घराने के उस्ताद फैयाज़ खान के संघर्ष, फक्कड़ तबियत के किस्सों के माध्यम से घराने का ऐतिहासिक विवेचन करते हैं. किस प्रकार फैयाज़ खान साहब में धैर्य के अभाव के चलते उनके परिवार    के सदस्य उनके घराने की परम्परा को जीवित नहीं रख सके.  वर्तमान ( प्रमुखतः बीसवीं सदी) के कुछ प्रमुख कलाकार जैसे एम०  आर०  गौतम, ललित जे०  राव, विजय किचलू, रवि किचलू आदि के नाम छूट गए हैं। कुछ कलाकार जैसे के० जी०  गिंडे और सी० आर० व्यास जो ग्वालियर या किराना ( या दोनों) शैलियों के साथ साथ आगरा शैली के भी निपुण गायक रहे हैं ( बल्कि बाद के वर्षों में सी० आर०  व्यास का गायन तो आगरा के ही अधिक निकट था) इनका उल्लेख भी नहीं मिला.

तंत्री वाद्यों के  घरानों की जड़ें तानसेन से सम्बंधित होने के दावों के बारे में झा लिखते हैं –“मैं इस बात से अब इत्तेफाक नहीं रखता के सेनिया वाकई तानसेन के वंशज हैं. हर घराना अपने को तानसेन से जोड़ता रहा है.” सेनिया घराने की  तीन शाखाओं की पड़ताल करते हुए वो बंगश, शाहजहाँपुर और मैहर तीनों परम्पराओं का खाका खींचते हैं. हालाँकि शाहजहाँपुर घराने के एक महत्त्वपूर्ण कलाकार और गुरु राधिका मोहन मोइत्रा का नाम कहीं नहीं दिखा.  सेनिया मैहर घराने पर पुस्तक का सबसे लंबा अध्याय है. इस में लेखक ने मैहर शहर और अलाउद्दीन खान के घर का अत्यंत मार्मिक चित्रण किया है.  इसे पढ़ते हुए डॉ प्रवीण झा के ट्रेवल राइटर की छवि भी याद आ गई जो उनकी आइसलैंड और नीदरलैंड पर पुस्तकों में दिखती है. अपनी लेखनी से वे ऐसा प्रभाव पैदा करते हैं जैसे हम अपनी आँखों के सामने रविशंकर, अली अकबर खान, अन्नपूर्णा देवी और निखिल बनर्जी को तालीम लेते, रियाज़ करते देख रहे हों.

जयपुर अतरौली घराने की की वंश परंपरा, गायकी की विशेषताओं, केसरबाई केरकर की ठसक और रूतबा इन सबको लेखक ने अपने चिर परिचित अंदाज़ में बयान किया है .

भिन्डी बाज़ार घराने की अत्यंत संक्षिप्त चर्चा के बाद उस्ताद अमीर खान की चर्चा छिड़ती है. लेखक के अनुसार उस्ताद अमीर खान को एक पूरा “म्युज़िक स्कूल” माना जा सकता है. अपनी इस मान्यता के पक्ष में वो बहुत मज़बूत तर्क भी  देते चलते हैं. साले  विलायत खान  और बहनोई अमीर खान के तनाव पूर्ण संबंधों के बावजूद  परस्पर प्रशंसक होने की घटनाओं का नाटकीय चित्रण नमिता देवीदयाल की पुस्तक Sixth string of Vilayat  Khan के आधार पर करते हैं. हाँ, उस्ताद अमीर खान की परम्परा में सिंह बन्धु का नाम नहीं होना थोड़ा अखरा.

पटियाला घराने पर भी अध्याय संक्षिप्त ही है. प्रवीण झा इस बात पर अफ़सोस ज़ाहिर करते हैं कि बड़े ग़ुलाम अली की विराट शख्सियत के दबाव कारण छोटे भाई बरक़त अली और पुत्र मुनव्वर अली खान उभर नहीं पाए और अब उनके स्वयं के खानदान  से यह घराना फिसल गया.

इसी प्रकार पुस्तक में मेवाती घराना, रामपुर सहसवान घराना, शाम चौरासी घराना बनारस घराना इत्यादि पर शोधपरक, जानकारियों को डॉ प्रवीण झा की ट्रेड मार्क  शैली में समेटा गया है.

साजों के घराने नाम से एक अध्याय है जिसमें तबला संतूर वायलिन आदि के विभिन्न घरानों की लघु  चर्चा है.  वायलिन पर चर्चा के अंतर्गत वी० जी० जोग, एन० राजम एवं  कला रामनाथ का ज़िक्र है. कहा गया है की वायलिन में गायकी अंग एन० राजम और कला रामनाथ लाए . इसमें एक नाम मैं अपनी और से और जोड़ना चाहूँगा – डी० के० दातार का.  यह बात सही है क्यों कि एन० राजम ओम्कार नाथ ठाकुर की शिष्या रहीं हैं और बरसों उनकी संगत भी की है. इसी प्रकार डी० के०  दातार डी० वी० पलुस्कर के भांजे थे और उनकी संगत करते थे और कला रामनाथ पं० जसराज की शिष्या हैं तथा उनकी संगत भी करती रही हैं. ऐसे में इन सभी के वादन में गायकी अंग ही सुनाई देना स्वाभाविक ही है.   अलाउदीन खान ( अली अकबर खान के भी ) शिष्य होने के नाते  वी० जी० जोग के वादन में शुद्ध तन्त्रकारी ही सुनाई देगा .

पुस्तक को पढ़ते हुए एक बात दिमाग में आई  कि जितने मुस्लिम उस्ताद हुए हैं उनमें से लगभग सभी (वजीर खां और अहमद अली को छोड़कर) ने अपने परिवार के अतिरिक्त जितने भी शागिर्द बनाए वह सब हिन्दू ही रहे। किसी भी घराने के बड़े (मुस्लिम) उस्ताद का एक भी उल्लेखनीय मुसलमान शागिर्द ऐसा नजर नहीं आता जो कोई क़रीबी रिश्तेदार ना हो। शायद यही कारण हो की आगरा एवं पटियाला  जो पिछली सदी के पूर्वार्ध तक मुस्लिम प्रधान घराने  थे और आज ये घराने हिन्दू कलाकारों के द्वारा ही पोषित हो रहे हैं. रामपुर सहसवान घराने में अभी भी सभी  प्रमुख कलाकार मुस्लिम ही हैं. हालाँकि  ये  सब कलाकार एक ही परिवार से जुड़े हैं. परिवार से बाहर के मुस्लिम कलाकार वहाँ भी अनुपस्थित हैं.

‘घरानों के नाम भले ही खानदानी पूर्वज धरती के आधार पर थे.’ परन्तु हर घराने के  केंद्र अन्य स्थान पर बन गए. जैसे किराना घराना कैराना में जन्मा और धारवाड़ में पनपा आगरा घराना बडौदा या मैसूर या मुंबई में, ग्वालियर घराना कोल्हापुर में इटावा और शाहजहांपुर घराना बंगाल में विकसित हुए. और मैहर घराना तो सात समुन्दर पार कैलिफोर्निया ही चला गया. इस परिदृश्य पर रोचक चर्चा अंतिम अध्याय में है. रविशंकर के भारत की सीमाओं को तोड़ कर पश्चिम से संवाद फ़िर वहीँ छा जाने और बस जाने, और अली अकबर खान की केलिफोर्निया में अली अकबर कॉलेज ऑफ़ म्युज़िक   स्थापित करने की कहानी भी इस अध्याय में है.

एक दो स्थान पर संभवतः प्रूफ के कारण रह गयी कुछ गलतियों की ओर ध्यान गया जैसे मिरज को मिराज लिखा गया है और भास्कर बुवा बखले को भास्कर बुवा गोखले लिखा गया है.

रोचक और प्रवाहपूर्ण शैली, विषय और विषय वस्तु पर मज़बूत पकड़ के कारण आप इस पुस्तक को शुरू करने के बाद अंतिम पृष्ठ से पहले छोड़ नहीं पाएंगे फ़िर आप चाहे संगीत के फनकार हैं चाहे सुनकार.

===========

-डॉ ० असित गोस्वामी

asitsitar@gmail.com

9414265433

 
      

About Prabhat Ranjan

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