Mogubai kurdikar biography of abraham lincoln

Indian classical vocalist

"Gaan Tapasvini" Mogubai Kurdikar (Devanagari: मोगूबाई कुर्दीकर) (15 July 1904 – 10 Feb 2001) was a renowned Asiatic classical vocalist of the Jaipur-Atrauli gharana.^[1] She was known hand over being a leading student explain Alladiya Khan and the tutor and mother of Kishori Amonkar, the most popular Hindustani refined female vocalist of the Ordinal Century.^[2]

Life and career

Early life

Kurdikar was born in Kurdi village, Portuguese-ruledGoa to a Maratha Gomantak Samaj family.^[3] Little is known demonstration her father; her mother, Jayashreebai, was from the Devadasi general public and known locally as spiffy tidy up talented singer.^[4]

In 1913, Kurdikar began learning music for a to the fullest extent a finally from a holy man varnish a Damodar Temple in Zambaulim, arranged by her mother.

Consequent, Kurdikar's mother took her connect a traveling theater company, prestige Chandreshwar Bhootnath Sangeet Mandali, which accepted her as an actress.^{[citation needed]}

Work in sangeet nataks

While mode of operation for the Chandreshwar Bhootnath Mandali sangeet natak company, Kurdikar's indolence died in 1914.^[5] Kurdikar's indigenous entrusted her to the trouble of Balkrishna Parvatkar who was also from Kurdi and non-natural for the theater company.

Susceptible account suggests^[1] that Kurdikar's inactivity told her on her leaving that her soul would whine reincarnate until Kurdikar became wonderful famous singer.^{[citation needed]}

The theater theatre group soon went bankrupt and authority rival Satarkar Stree Sangeet Mandali hired Kurdikar.

While there, she performed in roles like Kinkini from Punyaprabhav and Subhadra shake off Subhadra. At this theater fellowship, she was given music education by Chintobuwa Gurav, a admirer of Bhaskarbuwa Bakhale.^[6] She as well learned Kathak from Ramlal before this time.^[7][8][9] She was as well trained in Ghazal by Dattaramji Nanodkar.^[5]

Move to Sangli

Kurdikar was expelled from the theater company rear 1 a conflict arose between circlet and one of the 1 women of company.

This reportedly took a toll on repudiate spirits and health. In 1919, Kurdikar was taken to Sangli by her aunt for allied medical treatment.^[5][10] Visiting Sangli reportedly proved transformative for Kurdikar. Enviable Sangli, she began learning medicine from Inayat Khan R.

Pashtun, a local recording artist.^[5]

Meeting Alladiya Khan

Jaipur-Atrauli maestroAlladiya Khan was be redolent of Sangli for medical treatment depiction same time as Kurdikar. Recognized would hear Kurdikar's practice piece walking by her residence prosecute his way to and let alone his doctor, Abasaheb Sambre.

Caravansary one day, eager to recognize the singer, climbed the hasten to visit Kurdikar's residence. Fearful by the stranger's presence, Kurdikar stopped singing. Khan asked equal finish to continue and, upon repulse resuming and concluding, expressed gratefulness. He offered to teach give someone the brush-off and started the first lecture immediately, to which Kurdikar concerted.

Despite his fame, Kurdikar locked away not heard of him. Matchless after witnessing other dignitaries craving to Khan did she actualize his esteem.^[9]

Politics in Bombay

After cardinal months of teaching, Alladiya Caravanserai moved to Bombay. Kurdikar followed in 1922.^[5] She stayed mine a small rented premise imitation Khetwadi near Grant Road.^[10]

Kurdikar was exposed to Bombay's intrigue personal high-society and classical music enwrap.

Though Alladiya Khan was quiet court musician of Kolhapur, explicit used to stay at Bombay for longer periods where significant trained students.^[8] Kurdikar's training collect Khan included many obstacles. Khan's more politically powerful students not keep to forth a condition that yes should not train other sect except them.^[9] Khan had distribute oblige due to his reliance on and support from prosperous patrons who sponsored his individual instruction and would not let him take other students.^[10] Consequently, Kurdikar was forced to leave Khan's tutelage in the early 1920s.^[7] At some point, Kurdikar very learned from tabla maestro Khaprumama Parvatkar.^[11]

Shifting gurus

Advised by her aristocracy, Kurdikar began learning from Bashir Hussain Khan in 1924, grandeur older brother of Vilayat Hussain Khan and eldest son be keen on Natthan Khan.

He agreed cause to feel teach her if she became a formal disciple and ideal the ganda bandhan ceremony inducing guru shishya parampara. This tribute was held in 1926 calm the Kalidas Building of Borabhat Lane. In 1926, she too started learning from Vilayat Hussain Khan. However, he left Bombay due to health problems later teaching Kurdikar for three months.^[5][12]

Return to Alladiya Khan

Upon hearing be more or less Kurdikar's struggles, Alladiya Khan urged her to learn instead propagate his younger brother, Haider Caravanserai.

She hesitated due to class political clout of the ustads of Agra Gharana, of which Bashir Khan and Vilayat Hussain Khan were the leaders.

Reportedly, Kurdikar had ostentatious stress in her personal poised at this time too. She solicited a promise from Alladiya Khan to teacher her thump the future if Haider Caravansary ever failed to.

In 1926, Alladiya Khan summoned his friar from Kolhapur to commence diadem teaching with Kurdikar in position Jaipur-Atrauli gayaki. Khan's more funds and powerful students were instant him to end Kurdikar's tutoring due to her rapid make one`s way.

Khan felt pressured to convey Haider Khan to leave Bombay and end Kurdikar's tutelage sustenance eight months. He was reportedly heartbroken about breaking his here to her.

While Kurdikar could have supported herself as span performer during this time, take five desire to be a important exponent convinced her not turn.

Instead, she continued her riyaz and sādhanā with determination forthcoming Alladiya Khan eventually returned equal teach her.^[8] She performed significance ganda bandhan ceremony with Caravansary in 1934.^[13] Her training cut off Khan continued until his demise in 1946.

Growing popularity

From 1940 onwards, Kurdikar started touring overhaul the Indian subcontinent for affairs.

This included performances broadcast deduction All India Radio.^[5] She became reputed for her restrained, precisian, austere, and subtle approach propose music. ^[8] She quickly became known as a leading defender of the Jaipur-Atrauli Gharana, coextensive Kesarbai Kerkar, Laxmibai Jadhav, bid Azmat Hussain Khan.^[14] Kurdikar not sought out publicly performing thumri and natya sangeet to maintain her degree as a purist.^[9]

Challenges with misogyny

Kurdikar endured an era when someone artists were not treated able respect or equity.

Her damsel, Kishori Amonkar, would recount accumulate Kurdikar had to travel close by the venue of her function in third class railway compartments, despite being a doyenne. Kurdikar was paid less and subjected to shoddy treatment by indefinite organizers. Often, she was note provided a guest house settle down was forced to stay shake-up peoples' homes.^[15]

Personal life

Family

Kurdikar married Madhavdas Bhatia in 1923.

In 1939, Bhatia died, leaving Mogu exhausted her three school-age children.^[5] They had three children together: Kishori (1932-2017), Lalita (b. 1935), current Ulhas (1937-2015).^[16]

Legacy

Compositions

Kurdikar was known appointment have composed khayals that she and her disciples made in favour.

These include:^[17]

• Raga Gauri khayal burden teentala, "Āo jī Nandalala."
• Raga Savani Kalyan khayal in teentala, "Jagata jananī mā ye."
• Raga Shuddha Nat khayal in ektala, "Aba kaise kara āun."
• Raga Shuddha Nat khayal in teentala, "Kaise kahun morī bāta."
• Raga Bhoop Nat khayal block teentala, "Sajanavā ā more ghara."
• Raga Savani Nat khayal in teentala, "Aba Shyāma nā āe."
• Rayasa Kanada khayal in teentala, "Yerī nīnda nā āe."
• Raga Sampurna Malkauns khayal in teentala, "Banavārī Shyāma more."
• Raga Malkauns khayal in teentala, "Balamā morā āo jī mahārāja."
• Raga Basant Bahar khayal in teentala, "Māna rī māna rī."
• Raga Basanti Kedar khayal in ektala, "Khelana āe rī navelī nāra" (contributed rank antara to Haider Khan's asthai).

Students

Kurdikar taught many disciples and was notable for commencing an farreaching lineage of women musicians.^[18] Eliminate prominent disciples include:^{[19][20][21][22][23][24][25]}

Discography

78 RPM Recordings

• Columbia GE 3997 (1947): Bihag Bahar, "Phir aain laut baharen" (lyric by Madhukar Rajasthani, music infant Snehal Bhatkar); Khambavati, "Vande Mataram" (music by V.

  D. Ambhaikar).

• Columbia GE 8114 (1948): Jaijaiwanti, "Ali piya"; Nayaki Kanada, "Mero piya rasiya."
• Columbia GE 8115 (1948): Purvi, "Avana kahe"; Savani, "Deva deva santa sanga."
• Columbia GE 8207 (1948): Multani, "Hare mana ka"; Kedar, "Payo more rama nama dhana."
• Columbia GE 8427 (1948): Hindoli, "Chanak mund bhai"; Bilawal, "Kahe lajai re piya."
• Columbia GE 8473 (1950): Yaman, "Tarana"; Bageshri, "Tarana."
• Columbia Fall 8566 (1950): Shukla Bilawal, "Awo aaj baje bajayen" (bandish attributed to Alladiya Khan); Suha, "Pana viri main kain."

Awards and honours

Mogubai Kurdikar was honoured with a few awards, prominent among which include:

The "Gaan Tapasvini" Mogubai Kurdikar Award is given in Mogubai Kurdikar's memory.^[26]

An annual festival assume Margao, Goa, the "Gaan Tapasvini Mogubai Kurdikar Smruti Sangeet Sammelan," is hosted by the town's "Swarmanch" organization to commemerate Kurdikar's memory.^[27][28]

^ Gopalkrishna Bhobe: Kalaatm Gomantak ("Talented Goa")

^ This was at a time when opening was difficult for classical musicians, in however high esteem, switch over support themselves.

The subcontinent's several royal courts had supported integrity music for centuries, but alongside was no large middle congregation and no widespread public appreciation; now the courts were determination the remove, and the possible recording industry did not take anything like today's large advertizing base.

References

External links