Pt. Suresh Talwalkar, who is known for his innovative teaching method, is training young enthusiasts across the country in SPIC MACAY’s first Tabla Intensive Course.
Pt. Known for his innovative teaching method, Suresh Talwalkar is training young enthusiasts across the country in SPIC MACAY’s first Tabla Intensive Course.
Taalyogi Pt. Suresh Talwalkar at Spice Mackay’s Gurukul in Shri Ram School, New Delhi. As the rhythm reverberated in the huge hall, participants in the age group of 10 to 30 from all over North India were enjoying every moment of the whole day’s tabla session (to be held again on 23 and 24 July). The guru appeared excited like a youth, sometimes playing with him while chanting loud beats. “This is an excellent initiative by Spic McKay,” Pt. Suresh Talwalkar.
Teaching has been a very important part of his musical journey; Over the past 50 years, his career as a solo artist and accompanist has slowly taken a back seat.
His understanding and experience comes from his accompanying personalities like Mogubai Kurdikar, Krishnarao Shankar Pandit, Vinayakrao Patwardhan and Gajananrao Joshi. Today the only person with him is Pt. Ulhas Kashalkar, his close friend and Guru Bhai.
Pt. Suresh Talwalkar introduced the concept of tabla workshops as early as 1973, realizing that group interaction is essential in the form of one-to-one teaching. He currently trains students at his Taalyogi Ashram and Avtar Gurukul, his Taal Schools in Nashik and Pune. Teaching in Dhaka for the Bengal Foundation, which he has done for many years, will resume in February 2023. He says, “Teaching is a natural extension of every musician; I need to feel this. It’s my responsibility to share what I’ve learned.”
Pt. Suresh Talwalkar’s teaching method is innovative. Somansh Gautam, 20, from Mandi, Himachal Pradesh, who is attending the gurukul, rightly says: “He creates a unique atmosphere, his very presence electrifying. His Thinking On Taal is so different and powerful that you are able to expand their formula, which is amazing.”
Participant in Spic Mackay’s Gurukul. photo credit: Spic Mackey
transformative
Suresh Talwalkar’s teaching for Pt. is not just about transforming learners into artistes, but primarily into rasiks. “It changes the way a youth thinks about life and approaches it. There is a lot of benefit in learning music, a revenge comes (There’s a big advantage to learning music; a change sets in). Plus, all teachers have lots of material to share; My approach is a little different. I feel that when my pupil plays, there must be elements in his presentation that arise from within; my aim is to teach way Behind ‘Layakari’. Yield Training is a key.”
Suresh Talwalkar’s bond with Pt. Sangeet started early in life. His father was a fortnight exponent, and his uncle was a prolific kirtankar with a deep knowledge of the scriptures, ragas and, of course, talas. So music came naturally to him. Girgaum in Mumbai, where he lived, was the center of music in those days. Accompanied by Kirtankars from the age of eight, young Suresh gradually began to train under eminent gurus, including Pandit. Nageshkar from Goa (incidentally, he was also a disciple of the great ‘Laya Bhaskar’ Khaparumma Parvatkar, who had incredibly different talas with each hand, foot and recited the fifth tala), Pt. Vinayakrao Ghangrekar and ‘Mridangacharya’ Ramnad Ishwar, singer Pt. Nivritibua Sarnaik and Pt. Gajananrao Joshi.
Pt. Suresh Talwalkar’s uniqueness as an artist has been his ability to imbibe the characteristics of different styles or gharanas. “My tabla has elements from Delhi, Ajra, Farrukhabad, Banaras, Lucknow, Punjab and of course the Pakhwaj tradition at large; The Karnataka effect should not be forgotten. People say that I don’t play according to one gharana. I don’t think it’s a handicap.” He feels more than a ghar and it’s important to play in one, playing only the same style. householder own way Style (method).
, Video Credits: Special Arrangement
You can make your mark only from your individualistic point of view. Knowledge can be acquired from an external source, but art emanates from within. Sadly, some musicians stick to just presenting Knowledge, If you play the same rhythmic pattern 108 times, you won’t forget it. But if you play it 500 times, you will master it. When you play it 1008 times, a Quick (energy) enters your rendering. must be music Quick,
His uniqueness as a tabla player has been well recognized, which is unusual for a percussionist. He is a recipient of Padma Shri and Sangeet Natak Akademi Award. He was conferred the title of ‘Talayogi’ by the Shankaracharya of Karveer Peeth in 2001.
unique outfit
Pt. Suresh Talwalkar’s multi-layered approach inspired him to create a unique ensemble in early 1994, when he combined percussion, kathak, melody instruments and vocal music to present the tabla in its most diverse form. Called ‘Tala Yatra’, this concept envisages ‘Geethaan Vadyam Nrityam’; All united in harmony. Many percussionists today have their own versions of the concept.
“I feel that what I have is not really mine; knowledge is passed on through me. So I have never been bound dirty (The thread that the master ties on the wrist of his disciple) On anyone, I do not need that ritual. Teaching is a flow. i want mine disciples (disciple) to play better than me; Thinking about this more than me. It is the responsibility of the guru, not the disciple. My gurus felt so, I cannot take credit for it,” Pt. Suresh Talwalkar.
Suresh Talwalkar in Pt. Gurukul | photo credit: Spic Mackay
follow the beat
Not stopping by carrying out music and dance concerts in schools and colleges, SPIC MACAY (Society for the Promotion of Indian Classical Music and Culture among Youth) is now shifting its focus towards grooming the next generation of musicians. “It’s a logical, organic extension of our work over the years,” says Rashmi Malik, chairperson of the foundation. Starting from Delhi, there are plans to organize such Gurukul across the country. It will include vocals and instruments in both Hindustani and Carnatic styles. “We let the gurus pick the best students for this special training. We aim to continuously create initiatives that make our art accessible to the youth,” she says.
The Delhi-based critic specializes in classical music.