Sitar virtuoso, Indian music legend Ravi Shankar is no more. Pandit, Guru Ravi Shankar passed away in his California home on Tuesday. He was 92.
Many Indians, particularly the pre-kitsch, non-Bollywood-type Indians, and surprisingly a large number of Westerners know about Ravi Shankar and some of his remarkable achievements. They know of Shankar’s close association with Beatles’ George Harrison in the “psychedelic” sixties when Harrison took sitar lessons from Shankar, and promoted both the instrument and Indian classical music to the West. Some of know of Shankar’s memorable music direction to Satyajit Ray’s watershed movie Pather Panchali. Many others know that Ravi Shankar had a daughter out of a short-lived marriage, and the daughter is now a world-famous pop singer Norah Jones. Some others perhaps also know that Shankar had another marriage later which gave birth to Anoushka, who is now a well-known sitar player herself and has often played with her genius father at concerts all over the world. In fact, a simple Google or YouTube search would instantly find you thousands of stories and video clips on the legendary father and his two famous musician daughters.
It is common perception that George Harrison brought Ravi Shankar to the West. That may be true and Harrison did a rare act of recognition and appreciation for the Eastern culture; he also brought out the suffering of Bangladesh to the West during its 1971 Liberation War. But untrue is the nuance that Ravi Shankar became Ravi Shankar — the world-renowned musician — because of George Harrison. A genius like Shankar did not need any particular push to become a genius.
In fact, I have said it elsewhere that “Had he been born a Westerner, he might have been a household name like Beethoven or Mozart.” What I meant is that had he been an American or European, and not a Bengali-Indian musician from a West-undermined Bengal and India, his genius would be much more readily acclaimed at educated American and European living rooms. He would not have to find fame at select, elite liberal homes and even more select, elite university music departments — especially through identification with George Harrison or the so-called psychedelic sixties. Americans today have only remembered the marijuana smokescreen of the sixties and sadly forgotten all about its revolutionary search of peace and soul.
About that often-misplaced association, Shankar said “he was happy to have contributed to bringing the music of India to the West… The music he played, he said, was sacred.”
In fact, the music he played all his life was about soul and shanti. It was about humanity. It was about an ancient, thousand years of Indian civilization that taught the world how art and music can transcend the boundaries of man-made silos. Shankar and his co-disciples such as Ali Akbar Khan and their percussion accompanist Alla Rakha, as well as the more recent tabla prodigy Zakir Hussain all showed how the school of music they grew up in could take both the player and the listener from the world of mortality to immortality. To a Western aficionado, it might sound rather abstract, but in India, music is a way of worshiping Saraswati the goddess of learning. Music is a well-accepted spiritual yoga. One does not have to belong to a certain religious school or denomination to attain supreme religiosity.
Of course, some might say it’s not really that different in the West. They might say, other non-Harrison virtuosos Ravi Shankar played with: violinist Yehudi Menuhin, saxophonist John Coltrane, composer Phillip Glass or conductor Andre Previn — all touched God through their music. But as someone who grew up in the tradition of Indian classical school, I would not be able to tell exactly what these legendary personalities thought about soul-searching through their music; I can only assume that all of them found their God when they performed. I know I can look at Menuhin pulling his bow on the violin, his eyes closed, and I know that he transcended from our lowly, mundane, fractious world to a blissful, divine height. We can definitely say that about Ray Charles too: his side-to-side sways while singing gave it all away. I know he had found his God.
Very few people perhaps know about the source of that spirituality Ravi Shankar brought from India to the West. It was his mentor Baba Alauddin Khan, a Bengali Muslim who identified a young Ravi’s talent when the Baba (or father) toured with the ballet troupe of Ravi’s illustrious dancer brother Uday Shankar, and took the teenager sitarist boy in for an in-house disciple. Alauddin Khan taught young Ravi how to play the sitar and tabla, sing, and understand the ocean-deep treasures of the Hindustani ragas — the many musical moods and structures. Just the same way the Baba showed him the countless improvisations and varieties, flexibilities and nuances and departures from the raga — properties that are primarily different from a rigorously structured Western classical — the Homer of modern-era Indian classical music, who lived through the age of 110, also trained Ravi on the lessons of a sacred, yet completely secular lifestyle — a lifestyle of humility, spirituality and peace. Muslim Alauddin Khan named his daughter Annapurna, a Hindu goddess, who some say was an even more talented sitar player than Ravi, and she became Ravi’s first wife.
When I talk about Ravi Shankar’s music transcending the boundaries of race and religion, I talk about humanity. I talk about peace. I talk about a progressive, futuristic way of life. That is life’s way our Eastern mentors taught us through centuries. Whether it’s the ancient saints or medieval-era Sri Chaitanya, or whether it’s the more recent Godly personalities like Rabindranath Tagore or Ramakrishna Paramhansa, this value is what streams through our blood streams.
Baba Alauddin inculcated that forward-looking lifestyle on all his students: his children. Ravi Shankar carried that mission forward when he played his sitar and built bridges between the East and the West.
Through his music, Ravi Shankar touched his God: humanity.
Brooklyn, New York