Aagomoni-My First Guru of Music
: by Abhijit Ghoshal
“Aswiner sharodo praate, beje uthechhe aaloko monjeer………..”and the divine chanting of Mahalaya starts at 4am precisely at Colonelganj Barwari Pandal opposite Anand Bhawan. This Year??? No friends, it happens EVERY Year.
Cut One: I must have been 2-3yrs old that time.Walking at around 3.45 am from my DaduBari to PujoPandal, holding the hands of my dadu Late Arunoday Paul. There used to be mild shivering in our bodies due to the early morning chill in the atmosphere(typical Durgapujor moto thaanda) and a peculiar energy inside our hearts; to witness Aagomoni(Arre Baba Aagomoni shunte jachchhi). We used to get up at around 2:30am. Shomnath Da[Tiwari] and friends used to play Kanshor Ghanta and walk across all the gullies of Colonelganj and Lawrenceganj at such early hours.
Cut two: After reaching the pandaal, I used to peep inside the stage though the curtains, seeing all tanpooras being tuned, musicians and singers taking their respective positions, backdrop being decorated by RonjuMama [everyone’s Nonnu], Bhaiyan Mama and their friends. My Maa [Late SnigdhaGhoshal-Jharna di], SwapnaMashi , Leela Mashi, Shipa Mashi, Jhuma Di, Rama Didi, Gublidi, Shyamoli Di, Bablu Mama, Tipu Mama, Ashok Mama, Shonku Da, Tapan Mama, Barun Da-all of them on vocals; Kanu Mama on Tabla, Bholanath Prasannaji on Shehnai and Flute, Tia Mashi on Shankh, and ……and the list goes on and on. I am forgetting many names but the person whose face comes distinctly into my mind is Dablu Da-combing his designer hairstyle in his designer way. All the above things were sheer ecstasy for me.
There were people distinguished and even called by their song-names. Rama di is still AmoloKirono Di-and will always be the same for us; Ashok Mamaz face comes into my mind as singing face of Tabo Achintyo. My mother was heavenly as Bajlo and Shanti Diley Bhori. Bholanathji was inseparable for his Shehnai in soothing Bhairavi as the consummation of Aagomoni; and so was Kanu Mama who showed that he could actually See through his fingers and his Tabla.
My heart , at that stage, indicated clearly: If you want to climb onto the stage, u HAVE TO learn Mahalaya songs.
Thus under the sweet tutelage of Maa and SwapnaMashi, the journey began without even my knowing that it had begun.
Wherever across the globe I perform, I always inform the audience that till today, we have a locality-Colonelganj in Allahabad where people gather at 4am to listen to such timeless creations. And I am proud that I had my musical initiations at Colonelganj through such a musical epic.
I am restricting myself to Aagomoni. Because if we look at the legacy of drama of Colonelganj Barwari, we can easily write a 1000 page souvenir dedicated to drama only.
I would like to share with you that in 1960’s, Nihar Mama and Prasun Mama had scripted a version of the real story behind Sharodiya Durgapoojo. As per the scriptures; during SataYuga, King Surath used to worship Maa Durga during Vasant Ritu [in Bengali Phalgun and Chaitra months]. That’s why Chaitra Navaratri is performed in many places even today. In Treta Yuga, King Ravana used to worship Devi Chandika during the same Chaitra Navaratri pooja. During the battle when Lord Rama needed power [ Shakti from Shaktidaayini Maa Chandi] to kill Ravana in TretaYuga, he worshipped MaaDurga [AkaalBodhan-meaning Unscheduled Awakening of Maa from Her YogaNidraa] and that is how we have this Sharodiya Durgapooja. Colonelganj Barwari had a different script at that time, which was unique and novel. There were many songs composed by Prasun Mama: like Tumi Durga Tumi Dharmo, Shankho Chakro Gada Padmo etc. This shows the level of commitment and camaraderie in them.
I started singing Aagomoni when I was probably in class 5th. It started from Colonelganj Barwari under the strict yet soft guidance of Shipa Mashi. I revere her for her authoritative attitude and her vision to invite all the tiny tots, make them sit with the senior singers and sing along with them. She made us understand that if the younger generation is not allowed to take off for want of perfection and finesse [of the veteran singers], wherefrom and when would they learn? There may be imperfections in juniors, but what about the zeal they have? What about the energy they have? What about their enthusiasm? And till today I adore Shipa Mashi because she initiated this among all of us like Mili Di, Tuli Di, Rumpi Di, Rika, Mamoni Di, Bappa da, Bablu [Pranab] da [bearing the torch till today- through his beautiful Chandi Path now a days], Shomu, Bimu and so many. More importantly because still Shipa Mashi has been continuing to inspire the kids to come out of their shells, learn and sing; again may be with some immaturities but believe me friends, only immaturity leads to maturity. The most important thing is to initiate and persevere.
Whenever needed, Swapna Mashi would sit with her harmonium and help all of us cousins and friends prepare the songs under her caring guidance. Especially Tabo Achintyo-which later became MY song, was learnt from Swapna Mashi playing Tabla. Taal concept was too alien to me and Bimu [cousin and my right hand in Aagomoni]. And Swapna Mashi would work relentlessly to rectify me on Tabo Achintyo and Bimu on Hey Chinmoyee. At that age, we were so very able to take Teen Taal from 16 beats to 20-24 and Roopak Taal from 7 to 10,sometimes even 12 beats [depending on our zest]. I can calmly admit that in the first 2-3 years of Tabo Achintyo when people would come to me and exclaim-“ U sang perfectly in taal”, I would sheepishly ask Bimu -“Kya yaar? Sach me? Kahin bhi nahin kata? KAISE?”
From class 6th, I came under the huge influence of Komlu Mashi in Allenganj Barwari and into my life. Learnt the perfect notations of Mahalaya songs, learnt innumerable things from her. I can’t actually enlist what and how much I learnt from Swapna Mashi and Komlu Mashi. I can simply admit that I will keep learning from both of them till I live on this earth. It was Komlu Mashi who instructed/ordered me to prepare my youngest group of Aagomoni in Allenganj when I was barely 19 yrs old. And we did that with Three n half months of rigorous practice [singers from the age of 6-20 years].
My Maa, an astounding singer blessed by Goddess, with an amazing feel in her vocal and theatrical renditions, passed away in 2008. She used to be awake on Shashthi morning every year, waiting for Aagomoni to start and Bablu da to send us the indication. Then I would call him or vice versa and put the mobile on loudspeaker mode. We would sit around Maa’s bed and all feel elated to listen to Bablu Da’s Chandi Path [again an initiation by Shipa Mashi-“Tui Parbi Bablu, Aami bolchhi”], we would silently listen to all the songs of the ensemble and after the Aagomoni, would call all of them and talk in detail [in the process, we would feel the lip smacking taste of Chander Ki Jalebi at 6am- sitting in Mumbai].
By my Spiritual GuruMaa Shri Maata Ji Nirmala Devi’s Divine Grace, I have been able to keep the torch lit and carry it to the next generation. Apart from my professional commitments, dubbings and Bollywood concerts, Maa has allowed me to perform the whole Mahalaya in Mumbai for the last four years. From the First song Ya Chandi to the last one Shanti Dile Bhori along with the Chandi Path - it is a Solo presentation here. I must humbly remember Bobby Mama and Tapan Mama because they sowed the seeds of Chandi Path in me. Now I am preparing the students of my Swarrit Academy of Vocal Music, because these songs prepare impeccable understanding of music and take you into the trance of classical music and divinity. And let me confess, it’s the same flame which was ignited way back in Colonelganj that is propelling me to do whatever I am doing as on date.
I appeal to all the new singers;If you really want to climb onto the stage, u HAVE TO learn Mahalaya songs.
This year I transliterated the whole Mahalaya script into Hindi as I performed at Bhavans College Auditorium before Classical musicians, Hindi, Marathi, Gujarati and Urdu poets and music connoisseurs from faraway places. En route I once again reminisced the impact of Colonelganj Barwari, Allenganj Barwari and Aagomoni in my journey of music.
My heartfelt wishes to dear Raja [Sudip mukherji] and his team of Colonelganj Barwari. I pray that as a team, they take the puja celebrations to a new height. May all be showered by the divine blessings of Maa Durga. May this unmatched legacy of Aagomoni touch even more new singers and listeners alike. May Maa make us instruments to spread Her Love, Her Care and Her Music.
Wishing you all a bilssful DurgaPujo and a splendid year ahead.
Jai ShriMaataJi.
Abhijit Ghoshal
(Playback Singer and Live Performer. Record 11times winner of SaReGaMaPa leaving it voluntarily, Founder of Swarrit Academy of Vocal Music in Mumbai, Vocal Faculty in www.shankarmahadevanacademy.com)
Website: www.abhijitghoshal.com
Email ID: abhijitghoshal5@gmail.com
