The concept of lineage – or “Gharana” (family tradition) – in Indian classical music is a unique and complex system that focuses on a variety of elements: history, region, style, instruments, compositions, interpretation and, most critically, blood line from guru (teacher) to shishya (disciple).
As a student of the Baba Allauddin Gharana of Maihar, my gharana begins with the incomparable singer Mian Tansen, one of the Nava Ratna (nine gems) of the 16th century court of Akbar the Great. Tansen is recognized as the progenitor of the Druvapada (Drupad) style of singing, a rich, majestic form that is a fundamental element of Hindustani devotional music.
The Mughal court was fertile ground for the arts from music to architecture. Emperor Akbar was a broad-minded ruler and welcomed the integration of myriad styles, religions and philosophies during his reign. It was during this quintessential period that the Mughal influence was strongly exerted on the more staid and formal Hindustani style, integrating the lyrical filigree and sensual detail of its own music into the solid foundation of the Hindustani form. The great master Tansen was one of Akbar’s favorites and is credited with the creation of a number of prominent ragas including Deepak, Megh Malhar, Mianki Malhar and Darbari Kanara.