Bhuvanesh Komkali – “There is no one bigger than the guru. Not even God”

This place is extremely beautiful. The way in which the Mahindra Kabira Festival has been organized, the choice of location, and the entire thought process behind the curation is wonderful. Being on the ghats always leaves a strong impression on my mind. It inspires me deeply. In fact, Varanasi, on the whole, is a city with a special vibe. I am happy to be here.

When and how were you introduced to the poetry of Kabir? Did you learn from your grandfather – the late Kumar Gandharva – or your other teachers (father Mukul Shivputra, grandmother Vasundhara Komkali, and Madhup Mudgal)?

The credit for establishing a place of respect for the poetry of Kabir in Hindustani classical music goes first and foremost to Kumar Gandharvaji. Of course, I have learnt from all my teachers but Kumar Gandharvaji needs to be acknowledged as the pioneer. I had the good fortune to listen to his renditions of Kabir from a very young age in my house and my understanding of the words evolved as I grew older and went deeper. But I must also confess that the more I learn the more I realize how little I know. There is so much left to do and grasp. Our tradition lays emphasis on the centrality of the guru, and on being grateful as a student for all the guidance one receives. There is no one bigger than the guru. Not even God.

That reminds me of the popular doha Guru Govind dono khade…

Yes! Guru Govind dono khade kaake lagoo paaye? / Balihari guru aapne Govind diyo bataaye. The disciple touches the Guru’s feet before worshipping God because it was the guru who showed him the path to the lord. This is a beautiful aspect of our tradition, and it is worth preserving. At least, this is what I have learnt. And I believe in it with all my heart.

You have been reflecting on the nirguni poetry of Kabir for a while, not just singing it. According to you, what does it have to offer in today’s socio-political climate?

Let’s broaden our view, and not look at things only from a social and political lens. His poetry is for everyone who is willing to sit and listen, to imbibe his wisdom. He speaks to humanity at large. You don’t need to be a doctor or an engineer or someone highly qualified to understand what he is saying, and make it part of your life. All you need is an open mind. Nirguni poetry points us to the oneness that lies behind all our superficial differences.

Tell us a little about the bhajans that you sang at the Mahindra Kabira Festival. Why did you pick these ones in particular, and what do they mean to you?

I began with Main Jaagun Mhaara Satguru Jaage Alam Saari Sove. Here the poet is clearly saying that the Guru’s place is above everyone else. His Guru is awake, and so is he. And that’s all that matters. He has no other attachments in the world. This is the philosophy. With the grace of the Guru, the shishya can learn so much. Having an excellent Guru is very important but it is equally important to think about the kind of chela you are. He may be ready to give you everything that he has. The question is: Are you capable of receiving it? Do you have the readiness to welcome it, the willingness to learn, the discipline to digest it?

Interestingly, the Guru also ensures that student’s capacity to absorb keeps growing. This does not happen overnight. It takes a lot of time and patience. The Guru trains the chela so well and makes him so strong and capable that the chela can face anything and everyone. The Guru shows the way but ultimately the student has to walk the path diligently on his own.

That is why I sang Shunya Gadh Shahar and Nirbhay Nirgun. The Guru takes it upon himself to make the student fearless, and this absence of fear makes room for spontaneity and creativity. The student is able to express himself outwardly without any inhibitions because he has gone deep within. The Guru makes him work hard, prepares him for the long haul. But the Guru cannot do things for the student. Everyone reaps the fruit of their own labour.

On the occasion of Kumar Gandharva’s birth centenary, could you share some memories and anecdotes from the time that you spent with your grandfather?

There are so many things that come to mind when I think of him, so I have absolutely no idea where to begin and where to finish. His presence in my life has been a blessing, and a lot of what I experienced is quite personal. I just want to say that he inspires me to think about what I am singing – the thought and the philosophy – because each word carries weight and meaning. Younger generations need to know about his contributions in totality. That includes his songs, of course, but also his life, his thinking, and expansiveness of his vision. If his music strikes a chord in the hearts of people even three decades after he has passed on, we must think more carefully but why it has that transformative effect on us.

What are your thoughts on the commercialization and commodification of Kabir’s poetry? Do you think it’s important to walk his path in order to sing his words?

The musician’s task is to help Kabir’s words and philosophy reach the audience. How this is done varies from one person to another, and that is bound to happen. The depth which people have engaged with the poetry and made it their own is reflected in their music. Self enquiry is not like instant gratification. It cannot be done on the go. You have to be still in order to contemplate. You have to watch yourself, and go beyond appearances. You have to undertake this journey with great seriousness if you are looking for a real breakthrough.

Chintan Girish Modi is a freelance writer, journalist and book reviewer.

How does it feel to perform on the ghats by the river Ganga in Varanasi?

This place is extremely beautiful. The way in which the Mahindra Kabira Festival has been organized, the choice of location, and the entire thought process behind the curation is wonderful. Being on the ghats always leaves a strong impression on my mind. It inspires me deeply. In fact, Varanasi, on the whole, is a city with a special vibe. I am happy to be here.

When and how were you introduced to the poetry of Kabir? Did you learn from your grandfather – the late Kumar Gandharva – or your other teachers (father Mukul Shivputra, grandmother Vasundhara Komkali, and Madhup Mudgal)?

The credit for establishing a place of respect for the poetry of Kabir in Hindustani classical music goes first and foremost to Kumar Gandharvaji. Of course, I have learnt from all my teachers but Kumar Gandharvaji needs to be acknowledged as the pioneer. I had the good fortune to listen to his renditions of Kabir from a very young age in my house and my understanding of the words evolved as I grew older and went deeper. But I must also confess that the more I learn the more I realize how little I know. There is so much left to do and grasp. Our tradition lays emphasis on the centrality of the guru, and on being grateful as a student for all the guidance one receives. There is no one bigger than the guru. Not even God.

That reminds me of the popular doha Guru Govind dono khade…

Yes! Guru Govind dono khade kaake lagoo paaye? / Balihari guru aapne Govind diyo bataaye. The disciple touches the Guru’s feet before worshipping God because it was the guru who showed him the path to the lord. This is a beautiful aspect of our tradition, and it is worth preserving. At least, this is what I have learnt. And I believe in it with all my heart.

You have been reflecting on the nirguni poetry of Kabir for a while, not just singing it. According to you, what does it have to offer in today’s socio-political climate?

Let’s broaden our view, and not look at things only from a social and political lens. His poetry is for everyone who is willing to sit and listen, to imbibe his wisdom. He speaks to humanity at large. You don’t need to be a doctor or an engineer or someone highly qualified to understand what he is saying, and make it part of your life. All you need is an open mind. Nirguni poetry points us to the oneness that lies behind all our superficial differences.

Tell us a little about the bhajans that you sang at the Mahindra Kabira Festival. Why did you pick these ones in particular, and what do they mean to you?

I began with Main Jaagun Mhaara Satguru Jaage Alam Saari Sove. Here the poet is clearly saying that the Guru’s place is above everyone else. His Guru is awake, and so is he. And that’s all that matters. He has no other attachments in the world. This is the philosophy. With the grace of the Guru, the shishya can learn so much. Having an excellent Guru is very important but it is equally important to think about the kind of chela you are. He may be ready to give you everything that he has. The question is: Are you capable of receiving it? Do you have the readiness to welcome it, the willingness to learn, the discipline to digest it?

Interestingly, the Guru also ensures that student’s capacity to absorb keeps growing. This does not happen overnight. It takes a lot of time and patience. The Guru trains the chela so well and makes him so strong and capable that the chela can face anything and everyone. The Guru shows the way but ultimately the student has to walk the path diligently on his own.

That is why I sang Shunya Gadh Shahar and Nirbhay Nirgun. The Guru takes it upon himself to make the student fearless, and this absence of fear makes room for spontaneity and creativity. The student is able to express himself outwardly without any inhibitions because he has gone deep within. The Guru makes him work hard, prepares him for the long haul. But the Guru cannot do things for the student. Everyone reaps the fruit of their own labour.

On the occasion of Kumar Gandharva’s birth centenary, could you share some memories and anecdotes from the time that you spent with your grandfather?

There are so many things that come to mind when I think of him, so I have absolutely no idea where to begin and where to finish. His presence in my life has been a blessing, and a lot of what I experienced is quite personal. I just want to say that he inspires me to think about what I am singing – the thought and the philosophy – because each word carries weight and meaning. Younger generations need to know about his contributions in totality. That includes his songs, of course, but also his life, his thinking, and expansiveness of his vision. If his music strikes a chord in the hearts of people even three decades after he has passed on, we must think more carefully but why it has that transformative effect on us.

What are your thoughts on the commercialization and commodification of Kabir’s poetry? Do you think it’s important to walk his path in order to sing his words?

The musician’s task is to help Kabir’s words and philosophy reach the audience. How this is done varies from one person to another, and that is bound to happen. The depth which people have engaged with the poetry and made it their own is reflected in their music. Self enquiry is not like instant gratification. It cannot be done on the go. You have to be still in order to contemplate. You have to watch yourself, and go beyond appearances. You have to undertake this journey with great seriousness if you are looking for a real breakthrough.

Chintan Girish Modi is a freelance writer, journalist and book reviewer.