DHRUPAD RESPONSE

Chintan Upadhyay, popularly referred to as Chintanji, is a renowned practitioner of Dhrupad, an

ancient genre of Indian classical music with a rich history spanning over seven centuries.
Dhrupad, characterized by its deliberate speed, emphasis on sonic purity, and intricate rhythmic
structures, is renowned for its incorporation of religious and spiritual aspects. The term
"dhruvapada" is etymologically derived from the combination of "dhruva," signifying
immovability and permanence, and "pad," denoting poetry. At a New Acropolis event held in
Mumbai, Chintanji delivered a performance of Dhrupad, accompanied by his wife Apeksha on
the Tanpura and Pratap Awad on the Pakhawaj.
The event was attended by a total of 60 guests, who were captivated by the magnificence and
grace of Dhrupad.Chintanji was born in the city of Bhavnagar, located in the Indian state of
Gujarat. The individual's parents, who possessed expertise in the art of Dhrupad, introduced him
to the realm of music. Chintanji pursued his master's degree at the Lalit Kala Kendra of Pune
University, concurrently receiving a national grant from the Indian government. In 2005, he
became a student of Pandit Uday Bhawalkar, a forerunner in the industry who is widely regarded
with spreading the Dhrupad heritage to new audiences.The performance exhibited by Chintanji
throughout the event served as a testament to his expertise in the art of Dhrupad. The individual
demonstrated exceptional vocal control and precision, exhibiting a resonant and commanding
timbre. During the performance on the Tanpura, the artist's spouse, Apeksha, provided a
delightful and intricate musical support. Pratap Awad provided a robust and rhythmic foundation
on the Pakhawaj, a cylindrical percussion instrument employed in Dhrupad and various other
genres of traditional Indian music. In Dhrupad, the Teental, which consists of 16 beats, is
commonly employed as the prevailing rhythmic pattern. The Pakhawaj performer ensures the
preservation of the lay by upholding a consistent and uninterrupted rhythm throughout the
entirety of the performance.
The performance of the show conformed to the established structure typically observed in a
Dhrupad presentation. The concert commenced with the alap, a solo exposition of the raga or
melodic framework. In this particular segment, Chintanji adeptly introduced the raga in a
nuanced and gradual manner, concurrently elevating the intricacy and intensity of his
improvisational performance. The subsequent segment, commonly referred to as the jor, served
to establish the tempo and cadence of the performance. Subsequently, the Pakhawaj musician
commenced playing a rhythmic accompaniment, so furnishing the melody with a framework to
conform to.
The third segment, commonly referred to as the jhala, encompassed a heightened pace and more
nuanced kind of improvisation, delving into the diverse rhythmic patterns and melodic options
inherent in the raga. The last element of the performance was the bandish, a meticulously crafted
song featuring lyrics that served as the pinnacle of the artistic presentation and were
synchronized with a specific rhythmic structure. Chintanji effectively incorporates the technique
of meend in his alap, so achieving a seamless and uninterrupted progression of musical notes
throughout his performance. The utilization of gamakas by the individual in question serves to
enhance and diversify their vocal performance, particularly during the jhala segment, wherein
they showcase their mastery of intricate rhythmic patterns and melodic phrases. Furthermore,
Dhrupad singing incorporates the usage of "taans," which are rapid melodic passages that
traverse the various notes of the raga. The performance by Chintanji incorporates taans, which
serve to demonstrate his exceptional skill and mastery in navigating the complex melodic
framework of Dhrupad. Ultimately, Chintanji's performance demonstrated his proficiency in
Dhrupad. The artist delivered a captivating and mesmerizing musical performance that engrossed
the audience, accompanied by his spouse and the Pakhawaj player. The performance framework
of Dhrupad, consisting of the alap, jor, jhala, and bandish components, provided Chintanji with
the opportunity to showcase his musical expertise and convey nuanced emotions through his
musical rendition. Indian classical music's rich and varied legacy was poignantly brought to light
on this occasion.