Did you know that a variation of the sarangi named the ‘Ravanhatta’ dates back to the times of the Ramayana and which had been created, apparently by Ravan himself for luring Sita? Have you ever seen a khartaal in any musical instruments shop and had you ever known that it was used by bhakti saints such as Meerabai?
Time passes by swiftly and with it, sound evolves at a rather rapid pace. In such an age, folk music has acquired a rather step-motherly status; though India is a country known for its folk tradition. With economic development and liberalization in the tow, these old music forms have been forgotten, lost and gradually been commercialized for the purpose of monetization. The search for the rather unsullied and genuine form of folk music has thus become painstaking and much more of a journey coupled with a study as well.
Dr. Ashwin Dalvi however, decided to take this trip and in the pursuit established a one-of-a-kind Institute for research and study of Indian music named Nad-Sadhna – the only organization in India providing a musicological resource and forum for academics, researchers, performers and composers and that too on Indian Folk Music. “Our aim is to provide a musicological resource and forum for academics, researchers, performers and composers. The current emphasis is on ‘The journey of musical Instruments of India’ which I am planning to publish as a compendium of the ethnomusicological study of Indian instruments.” Dalvi says.
What’s more is that Nad-Sadhna is a non-profit public service organization dedicated to advancing active participation in music making across the lifespan by supporting scientific research, and public service programs from the National and International music products industry.
Dalviwas trained in music under the guidance of his father Sri Mahesh D. Dalvi and eminent Sitar Maestro Pt. Arvind Parikh. His doctorate studies were sponsored by agencies such as the Ministry of Tourism and Culture and the Sur Singar Samsad has awarded him the prestigious title Sur Mani and the Sangeet Kala Kendra has awarded him another equally prestigious title NadSadhak.
Dalvi’s houses a collection of some of the rarest musical instruments which he has archived after meeting musicians, performers and fellow collectors. And what’s more fascinating is that he also has a well-equipped studio where he records the music of different tribes of Rajasthan like Langas, Manganiyars, Mirasi, Walar, Gowri for encouraging them to continue practicing their music. “You won’t be able to easily find accomplished folk musicians today. There are many who perform at popular venues such as the Chokidani but then, they are not trained in the pure art form as such. To spot the traditional folk artists is quite a task- they are located in remote villages away from the city and they lead a hand to mouth existence. One literally has to go hunting for them.” Dalvi thus helps out researchers to meet these musicians by organizing 2-3 days tours, concerts and workshops for them.
That apart, Nad-Sadhna supports community-based programs that provide new and innovative ways for people to learn and play music. It provides musical instruments to individuals whose circumstances inhibit their ability to meet their full musical potential. Different scholarship and fellowship schemes are provided to the talented parishioners, research scholars. The organization supports Music education in rural areas. There is every chance financial help can be found for the child who sings well, who really wants to be a musician and whose parents genuinely cannot afford the fees.
Thus, Nad-Sadhna is a place where researchers in music education, professionals in related fields, as well as undergraduate, post graduate and Ph.D scholars, students and enthusiasts, can get together in a virtual exchange of information and knowledge in the field of music education, musical performance and technology of musical instruments. Besides, the purpose is to work in areas as diverse as academic research, music and sound production, exhibition services, and the delivery of cinematic, music, and arts events.
Dalvi had of course received a lot of flak when he chose to quit his job as a professor of Indian music at the University of Baroda and pursue research fulltime. “It seemed crazy to my family. Who would want to give up a salaried position in an esteemed university and take up something like I did? But then, this was my calling – it was something I really wanted to do and I didn’t want to waste any more time just deliberating and thinking about it. I enjoyed teaching, too but then I wanted to do something much more fulfilling – this was just the right thing for me.”