An Everyday Malhar: A Raag's Relation to the Earth

As a response to the invitation to a form of global thought, this paper asks: what is the relationship between Indian classical music and everyday seasonal life? Indian classical music has been studied in the social sciences as a tradition belonging to a distinctly South-Asian past (Neuman, 1980; Mu...

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Bibliographic Details
Subtitles:"Special Issue on Steps to a Global Thought: Thinking from Elsewhere (pp. 411–611)"
Main Author: Palchoudhuri, Ahona (Author)
Format: Electronic Article
Language:English
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Published: Springer Netherlands 2023
In: Sophia
Year: 2023, Volume: 62, Issue: 3, Pages: 555-576
Further subjects:B Rural India
B Ethnography
B Indian classical music
B Affective experience
B Everyday Life
B Monsoons
B Aesthetic labor
B Anthropology
Online Access: Volltext (lizenzpflichtig)

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520 |a As a response to the invitation to a form of global thought, this paper asks: what is the relationship between Indian classical music and everyday seasonal life? Indian classical music has been studied in the social sciences as a tradition belonging to a distinctly South-Asian past (Neuman, 1980; Mukherjee, 2006), in which newness has emerged only as a consequence of techno-auratic reconfigurations (Neuman in Asian Music, 40(2), 100-123, 2009), or as a construct of India's post-colonial modernity (Neuman, 1980; Mukherjee, 2006). This paper departs from this literature to suggest a different route into the study of this form, which grounds it within the aesthetic labors of thinking and feeling, and the ways in which they relate to everyday variations in the earth's tempos. It argues that a raag is not simply a sequence of notes that represents a culturally specific way of being, but an aesthetic relation that expresses and intervenes in seasonal and diurnal rhythms. By studying raag Malhar within the context of drought-prone rural West Bengal, this paper examines the life of Indian classical music outside the institutional frameworks of concert halls and academies of learning, and begins instead to explore the ways in which it forges and animates everyday life. As such, it works towards a conception of the classical that can be located within the ordinary, and asks, in relation to the concepts of raag and season, what it means for the temporal resonances of everyday life to be musically rendered. 
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