Event Details

Haveli Sangeet
A free online workshop by Shruti Sadolikar-Katkar

An NCPA Presentation

Supported by Citi

Propagated by Vallabhacharya (1479 -1531), haveli or pushti-margiya sangeet is an integral part of rituals associated with worshipping Lord Krishna in his child form and includes renditions of the musical forms of dhrupad, dhamar and hori that describe his various activities (leela).

This practice was carried forth by Vallabhacharya’s disciples (the ashta-sakhas) wherein compositions were sung in seasonal ragas and in those associated with a particular time of the day. The music is mainly accompanied by the pakhawaj and tanpura. These compositions portraying a variety of rasas depict the grandeur of Brajbhasha, the language in which they are composed. The pushti-margiya tradition has helped preserve several ragas in their original forms for the last 500 to 600 years.

It is interesting that the family of Alladiya Khansaheb, the founder of the Jaipur-Atrauli gharana, had come in contact with many performers of this tradition while serving in the courts of Jaipur, Jodhpur, etc. and as a result, they adapted into khayal, many compositions from the pushti-margiya tradition.

Acclaimed as an accomplished vocalist and scholar, Shruti Sadolikar-Katkar was trained by her father, Wamanrao Sadolikar, a disciple of Bhurji Khan and Alladiya Khan. She also learnt from Gullubhai Jasdanwalla, a disciple of Manji Khan and Alladiya Khan, and Azizuddin Khan, the grandson of Alladiya Khan. Parag Baba, a leading figure in the pushti-margiya tradition, guided her in haveli sangeet. A recipient of several awards and accolades, she has performed widely at home and overseas, held prominent positions with renowned institutions, and has recorded for well-known labels.

This interactive workshop will focus on the origin of haveli/pushti-margiya tradition, life of Vallabhacharya, and contribution of the ashta-sakhas. Sadolikar-Katkar will elaborate on the ragas and compositions associated with this tradition, highlighting their connection with the repertoire of the Jaipur-Atrauli gharana of khayal.

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