International Journal of Social Science Research (IJSSR)

The Untold Aspects of Banaras Baaj of Tabla and Its Hidden Relation with Various other Art Forms

Banaras Gharana occupies a unique position in Indian classical music in which Gāyan (vocal music), Vādan (instrumental music & percussion), and Nritya (dance) are individually rich disciplines but are also closely interconnected through a common artistic philosophy. Further this interrelationship is particularly evident in this tradition because of the remarkable structural and rhythmic similarities between tabla, vocal music, and Kathak dance. For instance, a Banaras tabla solo traditionally begins with Uthān, a form that also marks the opening of a Kathak performance. Likewise, the gradual development found in Ālāp, Jor, and Jhālā in instrumental music such as sitar finds a parallel in the Banaras tabla repertoire through Aouchar, Badhat, and Rela, revealing a shared process of musical expansion and expression. Although these traditions are discussed individually, not much attention has been given to understand the hidden relationship. This study will aim to find and analyse the common principles and practices that connect the three disciplines within this tradition. Further this research will find out the integrated artistic system in which rhythm, melody, and gesticulations are influencing each other while preserving their individual identities. Further by applying qualitative methodology based on historical literature, ethnographic research, performance analysis, and the oral traditions of the Banaras Gharana the deep connections between Gāyan, Vādan, and Nritya in Banaras tradition can be understood in a better way ultimately promoting a more holistic understanding of the Banaras tradition.