The pedigree of Ustad Wasifuddin Dagar is completely beyond one-maybe the Dagar family is the only family in India today with a record of 12 consecutive generations of musicians, it is also another 8 generations of musicians whose oral origin goes directly back to the disciples of Swami Haridas.
He is 20 in a row for more than 500 years.
His family sang dhrupad in the dagwani tradition (
Dhrupad sings 4 banis or 1 of the styles)
The most difficult forms of singing, including great voice control, and strict adherence to the rules of expression.
However, his legacy is easily inherited.
He is informal, amiable, has enviable ways of speaking, and can even explain the most esoteric nuances of voice to non-singers.
He is very philosophical and, to some extent, not as he said, his age is "hum apne daur ki khshiyan khareedte kaise, hamari je
How can I buy things at my age when I have only old-time currency in my pocket).
An interactive excerpt from his residence in Delhi: each branch of your family has settled in northern India. . .
Yes, my ancestors settled in Jaipur, udabor, Alava, Indor after independence . . . . . . After the Prince was dissolved, my family branch moved to Delhi.
I was born here.
Drapad aalap is a unique traditon;
It is unparalleled as a listening experience.
How do you explain this as a performer?
My ancestor, ustarde alabante Khan, was once asked about the purity of "sur.
He replied: "giska jitner Iman Saha, uska utna swar Shaka-it was those days of attitude towards integrity, recognizing that before being able to remain pure in the voice, need all aspects of purity!
This is what the officials think of swar.
For myself, I know you have to concentrate on getting into the mood of LAC;
You have to accept raga yourself.
It's like an audience who sometimes doesn't like the same raga of the same artist;
This is not the rendering of the artist, but the acceptance of the audience!
I call my mind a "restless beast"-whether it's acting or listening to music, music will calm the beast for a while. It’s important.
Talk about what music really means to you. . .
The music has "swar "(notes)and “laya” (rhythm)
Music brings peace.
Music can move water and even affect plants!
Music has five elements for me: tone, pulse, pause, purity and silence.
Silence is solemn.
We are all afraid of silence, but silence is also important.
As a performer, you also have to know how to deal with silence.
Do you think dhrupad is dying out as an art form?
Well, I personally have 12-
13 Very dedicated students in Delhi.
I have a pianist, Utsav Lal, Xi drapard! Stay away from me!
Imagine that this is the requirement of dhrupad, performed on instruments like piano with fixed notes.
Bhilwara Group has set up a facility in dhrupad to train the students I am involved in;
In Dhaka, far away, the Bangladesh Foundation is teaching dhrupad.
Haathi ke to the main saare to hain (
It is said that the elephant's feet contain all the feet)
-Dhrupad like this.
It has every "ang "(aspect).
Have you ever faced hostility or no interest in the audience? Oh yes!
Let me tell you about one of the most recent events-I was invited to perform in front of the audience who heard Dale Mahdi the night before.
I said, WALA.
I'm there anyway and I have to face it.
There were 4500 people. when I started, I was called by the cat and whistling . . . . . . But I am determined to continue.
I explained the concept of aalap and then started singing again.
I stopped and said, "Ye Hamar tekhzeb Mayne Nahin Hai, apaco Jana Hai to jayeeye. (
There is no whistle and disrespect in our culture;
Please leave if you wish)
It is mainly to go to gaa ke hee rahunga. (
Only after singing)
Jaise aap hum pe has rahe hain, hum log bhi aapas mein aap jaise logon pe haste hain. ” (
Like you laugh at me, in my own artists we laugh at people like you too)
There was silence.
I said, to be respected, to learn to respect.
I started again, yes, many people left, but the noise stopped and my "laya kaam" attracted the audience.
In the end, there are still about 700 spectators.
In fact, after I finished singing, I was asked to sing more songs.
What other interests do you have besides music?
I practice the art of calligraphy (
Show his drawing board);
My vision is also very developed.
I also like shayari very much. I love driving.
I from American West Coast Drive East Coast!
I sing when I drive, so I like the engine of the big car because my pitch matches the pitch of the car engine. I love films;
Especially Charlie. (
Ustad will perform at the annual Bhilwara festival at six o'clock P. M. Kamani auditorium on March 25
The father of the Ustad Dagar Wasifuddin file, Nasir Faiyazuddin Dagar, once only sang brother Ustad Nasir Zahiruddin Dagar.
They are called Dagar Bandhu;
Their two older brothers are also known as senior Dagar Bandhu, Moinuddin Ustad Nasir and Nasir Aminuddin Dagar.
The name "Dagar" was originally used by senior Dagar Bandhu;
They also took Dhrupad gayeki to Europe, Japan and West Asia for the first time in late 1950.
They lived in Kolkata after 1947, and Jaipur was dissolved.
After that, they came to Delhi to teach dhrupad at the new school.
A history textbook formed by Sri ramkalakkendra in 1950.
Ustad Moinuddin Dagar died in 1966 and his brother died in 2000;
But Dagar Bandhu jugalabandi was still much younger until the death of Faiyazuddin in 1989.
The young wasifordin took over his father's position and sang along with his guru until his death in 1994.
He's solo now.
Adhering to an ancient tradition, Pandit Mallick Prem Kumar, Shobha Deepak Singh's reflection on Ustad Wasifuddin Dagar Pandante Prem Kumar Mallick belongs to the dalpena drapard tradition, he is the son of learned master Pandit Vido Malick, who has conducted pioneering research and compilation of the rare dhrupad works performed at the Temple of windaven.
He is the contemporary Ustad Wasifuddin Dagar-
About 10 years older than him, today is the torchbearer of his generation, gharana.
He said, "since we all belong to the old tradition of dhrupad, we have had a family relationship for a long time.
I have great respect for his uncle Dagar Bandhu and for him.
I always attend his concert as long as I can;
He was the same to me.
Nila Ke Insan Hain;
Sambandh in Sama hi (
He is a man with musical notes and rhythms and obviously we have close connections).
He is my brother. he keeps an old tradition.
Yes, we have different styles of dhrupad, but this is a very small difference.
In the end, dhrupad was one of them.
The training we have all received is one;
There are only minor differences in presentation.
"Over the years, I 've heard more than just genes, and found that his voice production is very different from the whole speech.
He has done a lot of riyaaz in speech production, and his smooth game proves his mastery of speech culture.
No wonder he was awarded the Padmashri Medal at such a young age.
In his aalap, his ability to attract the attention of the audience with a fine sense of drama is also admirable.
His use of pauses, his sense of proportion, and his subtle sense of lyrical are his own, not just inherited.
I remember his uncle affectionately, senior Dagar Bandhu Ustad Moinuddin and Aminuddin Dagar when they taught dh in Bhartiya Kala Kendra, Delhi