History repeats itself, and so repeats its hall of fame down the times of centuries or a millennium. Thus we happen to revisit the genius of a Michael Angelo, a Van Gauge, a Bach or the likes in newer moulds or makes into later humans at the uncanny finger of time. But commoners do not have that x-ray vision to recognize them immediately, and hence they do not seem to allow an easy place of trust to anybody being shot to fame or glory from among their next doors.
From the cradle of civilization two contending forces seem to act in human psyche – the 'Good' and the 'Evil'. The 'Evil' spirits are engaged in looting or plundering while the 'Good Samaritans' always try to protect the society. Hence in every age the larger segment, particularly the talents and intellectuals, usually tends to exploit the society only for their personal gains and well-being while the few others exercise their intellectual exploits as to how best they could be of service to the growth and development of civilization towards a positive direction even sacrificing their many worldly needs and comforts or sometimes even staking their life itself. But their mortality ceases to be because they live beyond the times leaving behind a memorable collection of their prodigious deeds and creativities, and they mostly be the now-unsung-time-awaited heroes in the pages of history among whom SANJAY must have had his place.
Acharya Sanjay Chakrabarty has hence set his foot with the mentioned Good Samaritans holding high the hitherto unexplored message of his mission, "PRAAN SANGEET"
To examine further details of his persona it comes to light that ACHARYA SANJAY is an ever-stand-alone-free-thinker, a crusader. He braved opposing salient serious misgivings and misconceptions prevalent so long in the thoughts and practice of BHARATIYA SANGEET (INDIAN MUSIC). Instead, he has raised high above its true image in his well-defined musical philosophy "PRAAN SANGEET". Just for a flash of example let us quote a commonly heard buzz word, that is, "Music is a performing art" which ACHARYA SANJAY contradicts saying it is never so; rather he argues, it is a very tiny part of truth, and that too may be as per the English concept of the term 'Music'. But the interpretation of the Sanskrit syllable 'Sangeet' (Music) in Indian philosophical perspectives is never limited to the smallness of 'Performance' only. Sangeet (Music) being an extensional form of 'SHABDA' (Sound) has to be conceived and experienced in its so many other different outer 'facets' and innermost 'rudiments.' Broadly speaking, Music is primarily and largely a 'Listening Art' before being a 'Performing Art' because while performer is one or a band of a few, the listeners are always many in hundreds or thousands. Secondly, performers are indisputably an inseparable part of the listeners even while presenting their performance. Truly speaking, a prolonged listening habit of so many years evokes in discerning ones an obvious craving for a certain subject. Thus isn't it the fact that a future performer is arguably a hard-core listener of yester years ? (To know many more such hints and solutions, just click the website www.vyaasparamparaa.org and keep contact with ACHARYA SANJAY for vast details with practical applications).
However, such rebellious stand of ACHARYA SANJAY reminds us of the great deed of two early scientists, Copernicus and Galileo who voiced aloud the reverse truth against the then wrong belief that 'The Earth is stationary and the Sun moves round the Earth' and thus changed the whole course of scientific knowledge towards a new direction. ACHARYA SANJAY's conviction is that this is but usual in every age for the people who herald such 'Path Breaking News' and thereby add some new pages in the annals of history.
Now if we cast our look at the life and works of ACHARYA SANJAY we may be taken by surprise that it strangely resembles the multi-faceted genius of the centuries old music stalwarts, the 'Nayaks', particularly TAANSEN of Mughal Durbar in Emperor Akbar's time.
Hence like a curious tale of reincarnation, the taste of that great genius is revisited in the Indian music scenario in ACHARYA SANJAY, who besides being a Research Scholar and a respectable Music Guru (Mentor/Teacher), is in the first place a Vocal Exponent (all genres from Classical to Folk), an Instrumentalist (Mainly Sitar, Harmonium and Tabla among others), a Writer (some publications are printed out and rest in process), a Composer (more than 300 already published), a Lyricist (more than 250 published and sung by famous singers), a Music Designer and a Music Director. With the virtues of all these attributes being in one person, he is also endowed with a rare calibre of a most accomplished performing artiste in presenting all variety of his own creations and compositions. His repertoire is vast from Dhrupad, Khyal, Thumri to Ragpradhan, Modern Songs, Keertan, Film / Non-Film Songs, Folk Songs and so on.
But interestingly what made him stand on absolutely a different pedestal pacing yet a few steps ahead of TAANSEN's time is evidently his long arduous research on the most intrinsic virtues of the four facets of 'Sound' (Baikhari, Madhyama, Pashyanti and Para) having roots in the bosom of BHARATIYA SANGEET (INDIAN MUSIC) about which some pioneering work had been done in Vedic age.
Another historical coincidence is that the musical legacy of ACHARYA SANJAY largely stems from the ancient 'Senia' Gharana (School) established by TAANSEN. This is because he learnt Sitar from the legendary maestro Pandit Nikhil Bandopadhyay and Pandit Ajoy Sinha Roy of same lineage. In his early days, SANJAY had the proud privilege of receiving vocal 'Talim' (training) in Patiala-Kasoor Gharana from his elder brother, the internationally acclaimed iconic vocalist Pandit Ajoy Chakrabarty.
The above duo, the phenomenal TAANSEN of Mughal period and ACHARYA SANJAY of 21st century however come from diverse socio-economic background with some distinctive difference in their thoughts as well. TAANSEN was affluent being supported by state patronage, representing the then elite society. For his orthodox bent he chose to divide Music into higher and lower categories. He restricted his followers to singing his compositions of 'Prabandha Sangeet' only which he labelled as the 'pure form.' He even broke relation with his son-in-law Vilas Khan for the guilt of his singing 'Thumri.' But after all he was a harbinger of his time and had carved a niche for Indian Music on the pages of history.
On the contrary, ACHARYA SANJAY stood opposed to privatizing the divine gift, that is, Bharatiya Sangeet (Indian Music) within the orthodox frame of feudalistic ideology. Rather his sole determination was to thrash out the true image of Bharatiya Sangeet (Indian Music) and then democratize that 'gift' to million commons for whom 'Bharatiya Sangeet' is the absolute birth-right. This being a whale of a task SANJAY had to shun arch lights, stop his so acclaimed stage performances and embrace a plain lifestyle only to sit in silence with his solemn researches for over long three decades. His dream was to bring the priceless property of Bharatiya Sangeet to the services of mankind nationally and internationally. His musical incantation 'PRAAN SANGEET' is as it were put on the wheels of an automated vehicle of prowess which is sure to carry myriad enthusiasts to their desired plateau of success in much lesser time and toil than needed.
Today Indian Music is under a deadly threat. Hence his so magnificent calibre of stage performance is a crying need of the hour for disseminating the seeded message of PRAAN SANGEET everywhere in society including even the remotest corners of the country and abroad.
Hence we may be allowed to raise our voice on a belligerent pitch to put up this CLARION CALL to all of you, the mighty HUMAN BOND, who can only defeat all evil spirits standing powerfully together on your mass-platform VYAAS PARAMPARA and take a breast-full of pure breath from the vast horizon of PRAAN SANGEET, the unfailing gateway to the SCIENCE OF BETTER LIVING and a BETTER TOMORROW.