'The Real Impact Comes When the Singer Understands Every Word'—Classical Vocalist Bhuvanesh Komkali On Kabir and Tukaram

Being the grandson of the legendary Kumar Gandharva, Bhuvanesh Komkali has been exposed to the poetry of Sant Kabir from an early age. After all, Kumarji is known for pioneering the use of the saint-poet's repertoire in Hindustani classical music.

Naturally, 47-year-old Komkali has presented many concerts themed around Kabir, besides singing his bhajans at classical shows. Now, he is ready for a new theme Tuka Mhane Kahe Kabira, which will be presented at the Ravindra Natya Mandir, Prabhadevi, on September 25.

He and Kirana gharana vocalist Jayateerth Mevundi will jointly present the programme, organised by Pancham Nishad and narrated by Dhanashree Lele. While Komkali will focus on Kabir, Mevundi will render Marathi poet-saint Tukaram’s abhangs.

In a telephonic interview, Dewas (Madhya Pradesh)-based Komkali talks about the concert, his influences and the current state of classical music.

Excerpts from the interview:

You’ve presented Sant Kabir’s work for many years now. What makes this concert unique?

The very concept is different. Kabir was known for his nirgun or formless bhajans. They did not talk of any deity as such but referred to a higher power, focusing on day-to-day life. Most of Tukaram’s abhangs were dedicated specifically to Lord Vithoba. They are sagun bhajans, written for a deity. But both poets had important messages. Behind the use of the terms Tuka Mhane and Kahe Kabira, there was a lot of meaning in their writing.

What will be the structure of the show?

Though I will mostly sing Kabir and Jayateerth will present Tukaram, it is likely we may exchange roles on a song or two. We will sing some songs together and some individually. We will decide the songs closer to the event. The narrator will also play a major role. Dhanashreeji will explain a lot of the poetry and weave the programme together.

There have been other events like the Mahindra Kabira Festival, Khusrau-Kabir and Kabir Festival Mumbai. How much have they succeeded in spreading the message of Kabir?

They have definitely created awareness about the works of Kabir. By attending them, people are definitely making an attempt to listen to Kabir. Hopefully this will lead to more people understanding his philosophy and even internalising and implementing it.

What has been Kumarji’s influence on the way you approach Kabir?

See, though others sang the bhajans earlier, Kumarji has been credited for bringing Kabir Wani to classical music. He did a lot of study. As a child, I was exposed to Kabir indirectly by listening to him. Later, when I consciously started learning music, I learnt about the importance of text from my grandmother Vasundhara Komkaliji. Many people sing Kabir’s Nirbhay Nirgun, Udd Jaayega Hans Akela and Sunta Hai Guru Gyani, and they sing them well. Audiences like the tunes. But the real impact is created when the singer understands the meaning of each word, thereby expressing the song in the best way. The right bhaava makes the difference.

What have been the roles of your guru Pt Madhup Mudgal and your father Pt Mukul Shivputra in your musical journey? Both of them studied under Kumarji.

Madhupji taught me how to be a student. He never thought of me as Kumarji’s grandson but looked at me individually. If Vasundharaji taught me some rare compositions, Madhupji encouraged me in my quest for knowledge. As for my father, he is my janmadaata. I am in music because of him. Consciously or subconsciously, I have learnt a lot from him.

You have done collaborations with other classical vocalists like Anand Bhate and Shounak Abhisekhi, whose styles are different. How do you describe these experiences?

I started with them and later with Manjusha Kulkarni and Raghunandan Panshikar. Closer home, there are many concerts I have done with Kalapini Komkaliji (Kumarji's daughter). Such projects are challenging because one moves out of their comfort zones and experiments with something new. But they often help in creating an enriching musical dialogue. Even the upcoming concert with Jayateerth is a new kind of collaboration.

You’ve also appeared as a guest with Anirudh Varma Collective, which is a fusion ensemble. How much do you enjoy such forays?

Anirudh’s music is popular among the younger generation. The good thing is that he maintains the sanctity of traditional music. I too make sure I stick to the purity of the bandish. If we need to add or blend something that is fine as long as the basic essence is maintained. I enjoy working with Anirudh.

In classical music, do you see enough youngsters in the audience? Many youngsters listen to other forms of music, and though there are many young musicians, are there enough audiences in that generation?

I believe the young generation listens to a lot of classical music but the medium has changed. The medium is in their pockets. As musicians, we must make efforts to make things attractive enough for them to attend concerts. The younger generation is tech-savvy and some of them are helping in the spread of classical music within the new medium through YouTube and Facebook. Though we usually see older people in the audience, we also have shows with more youngsters.

Talking of technology, you have been digitising Kumarji’s recordings. Could you elaborate on that project?

That project is complete. All recordings of Kumarji have been digitised and archived. Anybody who loves his music or classical music, including music students, can benefit if they listen to his recordings. They just have to contact us and are welcome to Dewas. There’s a huge treasure that Kumarji left behind, and one can continue appreciating that treasure through these archives.