Drums in the distance

“These were the two persons who initiated me into the gondhal,” says Badge. Explaining what this is all about, he says, “It’s a religious custom, in which the devotees invoke the blessings of a goddess and it has its origins in the ancient texts, and was later put to use by those like Sant Dnyaneshwar. "Primarily performed to celebrate shubhakaryas (auspicious occasions) like the thread ceremony, marriage and housewarming, it is yet another way of warding off evil.”

And the concept understood, Badge began to learn the ropes about the art itself – the material required, the process, its steps. “Like everything else, there are shortcuts to performing the gondhal too,” says Badge wryly. “But the original ritual that would last all night needs an assortment of materials like 11 betel nuts, 11 almonds, 11 coconuts, five kinds of fruits, 11 dates, one garland for the goddess, a kalash, 21 betel leaves – this is then arranged, along with five sugarcanes that are symbolically meant to get rid of all evil trends that may be latent in your personality,” he elaborates.

And then begins the gondhal, started by the leader called the sardar, who also sings. He is accompanied by others playing the sambal, the tuntuna and the taal. While there are some songs that have been handed down over generations, the gondhali’s expertise is in innovating his art to suit the occasion he is performing for. Which means that he has to compose lyrics for every fresh show.

Badge being employed in a government organisation, his art is primarily used to put across social messages like that of AIDS, population control, environment conservation, primary hygiene practices, education. And he has successfully combined his everyday work with his objective of spreading the art.“Definitely packaging the message this way ensures its efficacy. Especially in the rural areas. Another personal observation is that these village folks are respectful and even a little scared of the gondhali, as it’s a religious ceremony he is involved with. Which serves to our advantage when we impart these social messages.”

Yet another unique aspect of Badge’s gondhal is the synthesis of classical music with folk music. And this he has been able to cultivate because of his training in tabla under Ustad Allahrakha Khan (from 1963 till date), his accompaniment on the instrument to Sudhir Phadke (from 1963 to 1994) and learning the santawani from Pandit Bhimsen Joshi (for eight years from 1974). “This groundwork has enabled me to explore new avenues in the gondhal, supplement its basic structure with different additions. "This is imperative, so that people can know that lok kala is just as serious in its objective as classical music. And then the parameters of any good music are its seven elementary notes. So why not strengthen the gondhal too within that same outline?” he asks.

Equipped with his knowledge of classical music, Badge also figures on the organising committee of the Sangeet Mahotsav of the Shrimant Daghdusheth Halwai Ganapati Trust. “Little did I know when I started out on my journey in music as a little kid singing in the bustling Phule Mandai, earning my day’s meagre wages that way, that one day I would reach this stage.

"Today I have been abroad, played at different cultural festivals, all courtesy the art I have inherited from my family, and this honour of the Sangeet Natak Akademi has come in recognition of my efforts in precisely this field,” he says.

Eager to spread his art to others, Badge welcomes anybody who is willing to learn. At the same time, he laments, “there are many gondhalis, but sadly nobody to guide them. I was lucky to have found a mentor in my uncle. This is essential so that you can amalgamate the need to earn your livelihood and also preserve your art”. His efforts have yielded him this success, surely there can be others too.