Export potential analysis. Indian Classical Music U.K

Transcription

1 SYMBIOSIS INSTITUTE OF FOREIGN TRADE Export potential analysis of Indian Classical Music to U.K Submitted by: Naina Malhotra 9011 Div A

2 ACKNOWLEDGEMENTS I would like to express my heartfelt gratitude for the invaluable help extended to me by Pt.Bhimsen Joshi,, in the completion of this report. I would like to extend my thanks to Mr. Haresh Bakshi of Sound Of India I would also like to thank Mr. Shrikant Bhojkar, Faculty SIFT, without whose guidance & support this project would not have been possible. I would like to thank Mrs. Supriya Joshi, Librarian SIFT & the entire staff for all their help. 1

3 CERTIFICATE This is to certify that Ms. Naina Malhotra, SA , of Symbiosis Institute of Foreign Trade has submitted the following research report on the EXPORT POTENTIAL OF INDIAN CLASSICAL MUSIC TO UNITED KINGDOM in partial fulfillment of the Masters Programme in International Business ( ) course at SIFT, Pune 2

4 CONTENTS Introduction Indian classical music Various forms of I.C.Music Terms related to I.C.M. Guru shishya Parampara & Gharanas Some of the eminent Artists and maestros Organizations promoting classical music Commercial aspects Indian music industry SWOT of Indian classical music 3

5 Competition Export of Indian classical Music Target market: United Kingdom Cultural profile of UK Indicative Costing Marketing Strategy Promotions of Indian classical Music Future of Indian classical Music Bibliography People Contacted INTRODUCTION Indian classical music originated from the chanting of the Vedas, chanting based on Sama Veda. These could be compared with the Psalms in the Bible. Indian classical music is categorized under two genres. These are as follows: 1. Hindustani 2. Carnatic. Which are further divided into vocal and instrumental. Vocal comprises of the ragas chanted by singers. The word raga literally means colour. Indian classical music is coloured by the emotions and moods and are closely associated with the various times or the seasons of the year. TYPES OF INDIAN CLASSICAL MUSIC 4

6 Indian Classical Music is of following types: Dhrupad Dhamar Hindustani Classical Khayal Semi classical music (Natya sangeet) Light Music ( Bhajans, songs ) Instrumental Dhrupad compositions have four parts or stanzas, viz. Asthayi, Antra, Sanchari and Abhog. Dhrupad is accompanied only by the Tanpura and Pankhawaj. Dhrupad is considered to be the oldest classical vocal forms of Hindustani music. Hori Dhamar: These compositions are akin to Dhrupad and enjoy identical status. Despite the variations in the themes of these compositions, all of them are associated with the festival of Holi (playing of colors) and the compositions are all of 14 beats time cycle. Khayal: The Dhrupad style of music was replaced by the romantic Khayal (the word Khayal means imagination, idea). The most important features of a Khayal are 'Tans' or the running glides over notes and 'Bol-tans' which clearly distinguish it from 'Dhrupad'. The slow (Vilambit) and fast (Drut) styles of Khayal are the two recognised types today. Tappa: This is a distinct style having its origin in the Punjab. Its beauty lies in the quick and intricate display of various permutations and combinations of notes. It is strange that even though the Tappa lyrics are in Punjabi, Tappa is not sung in the Punjab. Banares and Gwalior are the strongholds of Tappa. Bengal has also been greatly influenced by the Tappa style. Thumri: Thumri originated in the Eastern part of Uttar Pradesh. Its most distinct feature is the erotic subject matter picturesquely portraying the various episodes from 5

7 the lives of Lord Krishna and Radha. The beauty of Thumri lies in the artist's ability to convey musically as many shades of meaning as the words of a song can bear. It is a much freer form than 'Khayal' TERMS OF I.C. MUSIC Swara is a notations followed in ragas. There are in total 7 swara and they are Sa. Re < Ga, Ma, Pa, Dha, Ni, Sa Tal are the Rhythms prevalent in music like Tri tal, Dadra Sur is the pitch or tone of swaras and music There are male ragas and female ragas, which are called raginis. Bhairav is a male raga and its female counter part (ragini) is called Bhairavi.Raga is the melodic structure at the centre of Hindustani (North Indian) and Carnatic (South Indian) classical music. It is the basis on which the vocalist or instrumentalist improvises in slow, medium or fast phases. A raga has five, six or seven notes in separate ascending and descending structures, and its own recognizable feature or theme. Each raga is associated with a particular time of day or night, and has its principal Rasa or mood. Some ragas are associated with the seasons of the year. Moods are closely associated with human emotions of pathos or sadness, joy, romance, love, devotion and the like, which are reflected in the ragas. The ragas, which are usually sung in the morning, are Bhairavi, Lalit, Todi, and its variations. Similarly there are afternoon ragas, such as Sarang and Bhimpalsi; the evening ragas include Yaman, Pooriya, Marwa and Shree, to name a few.in the same way there are ragas associated with 6

8 the seasons such as Basant for the Spring, Hemant for the Autumn, Malhar for the Rainy season and so on. Raga is neither a scale, nor a mode. It is, however, a scientific, precise, subtle, and aesthetic melodic form with its own peculiar ascending and descending movement which consists of either a full octave, or a series of six or five notes. An omission of a jarring or dissonant note, or an emphasis on a particular note, or the slide from one note to another, and the use of microtones along with other subleties, distinguish one Raga from the other. There are 72 'melas', or parent scales, on which Ragas are based. Raga has its own principal mood such as tranquility, devotion, eroticism, loneliness, pathos, heroism, etc. In Indian music there is above all an awareness between man and nature, each acting and reacting on the other, andhence each Raga is associated, according to its mood, with a particular time of the day, night or a season. Improvisation is an essential feature of Indian music, depending upon the imagination and the creativity of an artist; a great artist can communicate and isntill in his listener the mood of the Raga. 'Tala' is the second important factor in Indian music. These are rhythmic cycles ranging from 3 to 108 beats. The division in a Tala and the stress on the first beat, called 'Sum', are the most important features of these cycles. Talas having the same number of beats may have a stress on diferent beats, e.g. a bar of 10 beats may be divided as: , or 3-3-4, or Within the framework of the fixed beats the drummer can improvise to the same extent as the principal artisits after going their separate ways, come back together with an accent or stress on the first beat. Thus, the 'Sum' becomes the most important beat of 7

9 emphasis thougout a recital of Indian music, since this urge for unity and its fulfilment are the most rewarding experience. INDIAN MUSIC INDUSTRY The business of music reselling has evolved to such an extent where it has attained the status of an 'industry' with its own characteristic dynamics. The Indian market has emerged as the second largest music market after USA, fetching valuations of RS crore. Industry structure and emerging trends are that about 70 per cent of recorded music till date is film music with the balance 30 per cent being ghazals, classical, devotional, western and Indi-pop. Tips. HMV, Times Music are some of the companies who are into the exports of cassettes and cd s Indian music industry is second after USA, fetching valuations of crore 70 % of recorded music is of films and rest 30% Comprises of ghazals,classical, devotional, western and Indi-pop Growth in Indian music market by 13%in year 2000 when global music industry fell by 1% Indian classical instruments 8

10 Various instruments which are played with both Hindustani and Carnatic classical music are: 1. SITAR Sitar is the most popular stringed instrument of India and has been in use for about 700 years. It is fashioned from a seasoned gourd and teakwood and has twenty mental frets with six or seven playing strings and nineteen sympathetic strings below. It is played with a plectrum worn on the finger. Sitar has a long and complex heritage; its origin goes back to the ancient Veena 2.VEENA. Ravi Shankar, the great musician-artist brought changes and a new perspective. 3. SAROD Sarod is another popular stringed instrument. The body is carved from a single piece of well-seasoned teakwood and the belly covered with goat skin. There are four main strings, six rhythm and drone strings and fifteen sympathetic strings, all made of metal. These are played by striking with a plectrum made of a coconut shell. The Sarod has no frets. Sarod as been found in carvings of the 1st 9

11 century in Champa temple and also in paintings in the Ajanta caves. It also has a similarity with the Rabab of Afghanistan and Kashmir 4.SARANGI The instrument was modified by Amir Khusru in the 13th century. A definite change was made by Ustad Ali Akbar Khan in shape of the instrument for improving the tonal quality.sarangi The name derives from Sau Rangi meaning 100 colours. Sarangi is played with a bow and has four main strings and as many as forty resonant strings. It is generally used to accompany singers but can also be a solo instrument 5.TANPURA Tanpura is a four or five stringed instrument which gives the essential drone background to all Indian music. 6.SANTOOR Santoor is a North Indian instrument originating from Kashmir. It has more than a hundred strings which run across a hollow rectangular box and the strings are struck by a pair of slim carved walnut mallets. 7.TABLA Tabla is the overall term for two drums, which are played as accompaniment to North Indian music and dance. The musician uses the base of the palm as well as the fingers to produce great variations in sounds. The right hand drum is tuned to the tonic dominant or sub-dominant and the left-hand drum acts as the base. 8.PAKHAWAJ Pakhawaj is a long bodied wooden drum with both ends covered in skin and is the most traditional drum of North India. Played horizontally with the fingers and palms of both hands, the right hand surface is tuned to the pitch required and the left hand surface provides the base. 10

12 9.MRIDANGAM Mridangam is similar in appearance to the Pakhawaj but the ends have a different texture. It is the most used drum in South Indian music 10.DHOLAK Dholak is a side drum, cylindrical in shape, bored out of solid wood. Its pitch is variable and is an essential accompaniment for folk music of North India. JAL TARANG Jal Tarang is essentially a water-xylophone. It is made up of a series of china bowls of varying sizes and they are filled with varying levels of water. These are then played with two light sticks 11.FLUTE Flute is found in every part of India, carved from bamboo it is made in every possible size. It is usually played in a vertical position. 12.SHEHNAI Shehnai is a double reeded wind instrument with a widening tube towards the lower end. There are eight or nine holes, the upper seven for playing, the lower ones for tuning. The Shehnai is considered auspicious and is played on all festive occasions in India 'GURU SHISHYA PARAMPARA' IN INDIAN CLASSICAL MUSIC Guru Shishya Parampara is the traditional method of imparting training of Indian classical music. Shishya devotes his full time to learning music. Guru imparts training and also passes on the musical thought behind the music that he practices. Guru also educates his disciple on the cultural aspects of his style of music. 11

13 Indian music the traditional Indian oral teaching method, which proceeds by copying short phrases and gradually building them up into longer units and simple songs. These we sung together again and again, repeating and repeating. Explanations were few and questions not encouraged! It was emphasized that many years are required to absorb the subtleties of the different schools or garanas GHARANAS After years of riyaz the artist if Indian classical music have gained the Gharana title. Each gharana has its culture and ethics. A shishya has to spend his few years of life with the guru to learn all the ethics and culture of the guru. Some of the gharana in India are as follows. 12

14 Gharana Agra Benaras Bhendi Bazaar Delhi Founders Ustad Gagghe Khuda Bakhsh Pt.Gopal Mishra Ustad Chajju Khan Amir Khusro Delhi(tabla) Ram Kumar Mishra, Shakeel Ahmad Khan Gwalior Ustads Hassu Khan, Haddu Khan and Nathu Khan Imdadkhani (instrumental) Indore Jaipur-Atrauli Jaipur-Mewati Kirana Maihar (instrumental) Ustad Imdad Khan Ustad Amir Khan Ustad Alladiya Khan Gagge Nazar Khan Ustad Abdul Karim Khan Baba Allaudin Khan Patiala Ustad Fateh Ali Khan and Ustad Ali Bakhsh Qawwaal Bachche Ramdasi Rampur-Seheswan Amir Khusro Baba Ramdas Bairagi Ustad Inayat Khan SOME OF THE MASTEROS OF INDIAN CLASSICAL MUSIC 13

15 Classical Vocalists: Pt. Bhimsen Joshi, Pt, Jasaraj, Kishori Aamonkar Karnatik Vocalists: M.S. Subbalkshmi, D. K. Pattamal Shahanai: Ut Bismilla Khan Sitar Maestros : Pt. Ravi Shankar, Ustad Vilayat Khan, Ut Usmaan Khan Sarod Maestros: Ud. Ali Akbar Khan, Ut. Amjad Ali Khan Santoor Maestros : Pt. Shivkumar Sharma, Pt. Satish vyas Flute Maestros : Pt. Hariprasad Chaurasia, Late Pt. Pannalal Ghosh Tabla Maestros : Late Ut. Allarakha, Ut Zakhir Hussain Guitar/ Mohanveena : Pt. Vishva mohan Bhatt, Pt. Brijmohan Kabra GENRE-WISE COST OF BRINGING AN ALBUM TO THE MARKET Genre Total cost of the company (Mn) New Hindi 30 to

16 What are exports of Indian Classical Music? Indian classical music is a foreign exchange earner for India, It is famous all over the world and is exported in the following ways: 1.Instruments 2.Cassettes and CD s 3.Books 4.Services Services could be in the form of the training, music therapy or performances by our eminent performers like Pt.Bhimsen Joshi, Hariprasad Chaurasia etc.overseas. Destination country-u. K Indian classical music has become increasingly available in UK concerts and recordings during the last few decades, and it now has a substantial following amongst British musiclovers and the Indian situated in UK, albeit if only as a delightful exotic novelty. 15

17 The major export players in UK Two record companies dominate the UK market for Indian classical music. Nimbus favors studio recordings, always presented with excellent documentation, whereas Navras has built up its extensive catalogue from live concert recordings. Major organization promoting Indian classical music Some of the non-profit gaining organizations, which are promoting Indian classical music worldwide, are Sarodya Society Society for Indian Culture and Arts SPICMACAY Indian Artist Management Society for the Promotion of Indian Classical Music And Culture Among Youth Was started in 1970 by IIT Bombay students.its prime objective is to promote Indian Classical Music all over the world.it is a non-profit gaining organisation It has 200 offices in India only Its main work is to promote culture festivals like savigandharva, etc in India. 16

18 Its members are the college and school going students. SARODYA SOCIETY Is a non-profit organization dedicated to the preservation, propagation and archiving of north Indian classical music. Based in San Francisco, California, we have offices in Amherst, Massachusetts and Calcutta, India. Sarodya Society was formed in November 1998 as a vehicle to preserve the art music of north India as represented by eminent stalwarts late Radhika Mohan Maitra and late Jnan Prakash Ghosh. Primary purpose of the Sarodya society is to present recitals of some of the highest quality Hindustani (north Indian) art music and to record and archive these, as well as to assist dozens of brilliant artists who languish in unthinkable conditions. We propose to do so be organizing benefit concerts, revenue from record sales, and by helping them find students. Teaching is a very important part of preserving any art, and therefore we are imparting training in traditional music of north India through some of its greatest masters, Buddhadev Das Gupta who is one of the greatest living masters of the sarod, and Debasish Sarkar, an unparalleled tabla virtuoso of Calcutta, at the highest professional. The most commonly taught instruments are the sarod, sitar, sursingar, mohan-veena, surbahar and tabla as well as north Indian vocal music. Sarodya society have a collection over 1,000 hours of Hindustani music recordings by some of the greatest masters 17

19 of all time ranging from Abdullah Khan (b. 1848) to Prattyush Banerjee (b. 1969). All donations to Sarodya Society are tax-exempt. STRENGHTS AND WEAKNESS OF INDIAN CLASSICAL MUSIC Strengths Indian classical music is becoming popular day-by-day, as more number of people are interested in learning and listening to it. This has happened due to some artists of international fame who have worked hard to propagate Indian classical music both vocal and instrumental. People have realized the healing power of Indian classical music. Indian youth is also taking interest in pursuing classical music as their career. Weakness But at the same time, we find that the quality of classical music is deteriorating. This is a result of many factors like, lack of dedicated teachers due to low monetary payments, lack of practice (Riyaz) by students, etc. Indian classical music is a knowledge trade, not anyone can listen and appreciate it.the listeners need to know what the singer is singing. Indian classical Music is restricted to India only its not prevalent all over the world. Riyaz is time consuming and as I mentioned earlier it needs years and years of practice Lack of International popularity 18

20 Threats The Jaaz music and Cultural music of all the countries Youth generation is more influenced by western culture and they are not at all interested in Indian classical music Diminishing culture and inability to create successors of these legends Opportunities Growing NRI population worldwide Some knowledge base is needed to understand ICM Stress, violence, Chaos increasing (good for music therapy) Performances on TV. Institutional selling YEH KHEL KAISE KHELENGE- EXPORT WILL BE DONE HOW Music industry (India) into services Get info. with help of distributors, association Arrange 4 shows during festival, as per demands 19

21 Place is decided Send brouchers, Mails, time, invitation Arrange for performers (visa, accessories) Stalls for sale of cd s cassettes and instrument How to enter the UK Market In UK the Target Segment is the NRI situated in UK, as UK has a strong base of NRI population, which is around 16,00,000 Then some of the possible option is: 1.To identify any potential organization like spicamacy which are into organizing the live showes in U.K. These organizers will keep the company in India about the various events and when these live showes are usually held. Then these organizer will also book the halls like the Queen Elizabeth and with the same time they will also work to keep the NRI informed about the live concert through word of mouth as well as distributing brochures, invitation card etc. Besides this the organizer will also arrange for the visas of the artist and the side artist. He will also try to get the insurance coverage for the 20

22 live showes from the UK governmental agency and other legal formalities done. With this a whole sole distributor of Cassettes and cds as well as for Instruments. need to be identified who has good public relations and a strong control in the market, he will given a margin of he will further supply these cassttes, cds and instruments to the retail stores. PROMOTIONS Well for a live music one needs to get good promotion and publicity about the artist and the show and some of the ways to do so are as follows: Website- A good website which contains all the information about ICM,artist, their availability and sample of there work pieces Brouchers: with the website the brouchers are to be distributed to the customers specially Indian who are intereted and are to be invited for the live showes. Sample of Cd s and cassettes will be given along with the invitation 21

23 Huge Promotion through Advertisement in Local media and Word of Mouth publicity University tie-ups that means the exchange program among the university in India and the university of UK Once the UK market is captured then slowly we can expand the market in the near by countries like spain where there is demand fro cultural showes and live performances Stalls in major festivals, art exhibition Tie- up with leading Indian music stores and bookstores which are in UK and managed by Indian Live performances and with that supply of Cassettes and Cd s so when the customer go back they can revert back to song Documentary links with Indian movie halls, advertisement in the theaters when a Indian movie is going or Look for fillers Exclusive retail stores can be set for sale of cd s and cassettes For the live performance I need to look for Try and tap temple festivals where all the Indian festivals like Nvaratri, etc are 22

24 Setting up associations like rashtravani Indian Players Some of the Indian companies which are into the exports of Indian classical music exports from India are the followings: Tips Venus T-Series Polygram BMG Crescendo, Magnasound Some of the international players Sony EMI Navraas Virgin Bramin COSTING 23

25 Heads Rs. Lacs Artist Remuneration 5 Accompanying Artist 1 Conveyance 2.5 Boarding 1.5 Visa 1 Margin@5-10% 0.5 to 1 Assumptions: per person (4 person) Very Flexible costing SOME RECOMMENDATIONS TO PROMOTE CLASSICAL MUSIC IN INDIA I.C.M need to be taught in schools and college as a subject because classical music is a music which cannot be understood until the listener have some knowledge about it. 24

26 There are no good books on and it cant be taught through books it need to be added as a as subject in the course. Then the media need to promote of more of awareness about the classical music among the masses. Some more bodies like SPICMACY need to come forward and take the initiative to motive youth so that they start taking up classical music as a career and are more devoted towards it. In fact when I meet Pt.Bhimsen Joshi he told me that though there are some Youngsters who have started liking ICM but they are not so devoted as he was The future of Indian classical Arts Music and dance have always ennobled and enriched human life and particularly so in our country, where in the words of Bharata they have "enlightened the Man through entertainment." Ancient Indian aesthetics have placed a distinct emphasis on the artiste being 25

27 the subjective experiencer expressing himself in a highly detached and objective fashion. He meditates upon his experience and is able to give form to the formless. Thus the role of art is multiple--it is a means of self-expression, a record of the experiences of the artiste, a form of communication satisfying man's need to be part of a group, a way of searching for and understanding the virtues of life. To go back a little in time to the third quarter of the last century when a great renaissance of our performing arts took place, heralded by some of our great intellectuals who inspired by patriotic fervor, made successful attempts to bring back our dance, drama and music not back to the temple which had hitherto been the focal points of our culture-- but to the theatre which was based on Western models. Dance thus ceased to be a temple and palace art and became a theatre art meant for the entertainment of the many as opposed to the select-few. Inevitably both dance and music ceased to be the monopoly of temple and court dancers and became arts which could be 26

28 practiced by artistes and dancers from all strata of society. Another important factor to be considered here, is the replacement of the personal patronage of the Maharajas by the impersonal one of Government dispersed through its various academies and departments. Naturally there have been a number of changes in the format and objectives of classical arts ranging from the good to the absurd. These changes are to be seen both in the methodology of techniques and presentation and like all changes some are for the better and some for the worse. There has also been a change in the mental attitudes of the artiste. He or she has become highly subjective, no longer believing in the objectivity of presentation or attempts to project spiritedly with the result that the art forms have become intensely personalised expression of the artiste. This is very hard to visualise in view of the almost hourly changes that are taking place in the various fields of knowledge, particularly in those of science and technology. TOP One trend which is obvious is that dancing is becoming a group effort and group performances and dance-dramas are becoming popular with a plethora 27

29 of characters participating and with as many dancers performing as the stage can hold and with combined choreographic presentations of a number of Gurus being presented. This may lead to permanent troupes being maintained by the Government in future. Another trend is the realisation that apart from depicting myths and legends centered around Gods and Goddesses dancing could be used to express contemporary life and its problems. Here, one must digress and point out that a thought should be given to the total alienation that has occurred between classical art forms appreciated by urbanites and rural art forms that are appreciated by the villager and which however are slowly being replaced by cinema music and dance. As a consequence of the above trends, musical and dance styles are becoming hybridised and totally mixed up. Will this lead to the creation of common or national style of dancing similar to the Bharatanatya prevailed in the country I am confident that the strong roots of our culture and the versatility of the Indian artistic genius will produce suitable art, which will more than adequately satisfy the needs of all times 28

30 Some Famous Festivals of India Savaigandharva, pune Elephanta festival, Bombay Banganga,Bombay Tansen Festival, Gwalior Bibliography Some of the websites which where surfed to get the data are as followes:

31 org.uk People meet Special thanks to Pt. Bhimsen Joshi Mr.Suresh Alurkar owner of Alurkar stores, Pune Mr.Ghokhale, secretary of Sarvgandhar festival Ms. Olivia, exports division Magna Sound Received s from Mr., Harsh bakhshi, member of advisory committee of saregama. 30