As
a young collegian at the Centre for Studies in Social Sciences, Kolkata,
Sebanti Chatterjee’s interest was piqued at how western classical music in
India functioned, despite the misconception that it’s at an immature stage in
India. Her quest during her MPhil, when she presented her thesis on ‘Classicism
& Dynamism-A Study of practices in Western Classical Music cross Calcutta,
Bombay and Goa’ led her to query and understand why so many engaged in its
pursuit in India, their professional status and how they kept it going. “I
wanted to study how western music was emerging in India and trace its migratory
route in Calcutta, Bombay and Goa,” Sebanti explains. In the course of this
research, she inevitably encountered choir music which is an intrinsic part of
the music scene in Bombay and Goa.
“All
this led me to explore the idea of voice in faith and hence for my PhD, I have
taken a holistic study of choir music emerging in Goa which is predominantly
practised by the catholic church and the large Presbyterian community in
Shillong,” explains Sebanti who is pursuing her PhD in Sociology at the Delhi
School of Economics. ‘But,” as she clarifies “it is by no means a comparative
study. My idea is to see how two different denominations practice choral music
and how it fleshes out in two different regions; how important it is for
community life, for religious protocol and as a genre of music/form of
entertainment.”
With
very few books written on this subject, Sebanti had to do an ethnography or
participative observation. “During my four-month research in Goa in 2013, I not
only visited the various seminaries, but also met with various individuals who
engaged in the practice of western classical and choir music. In fact, as part
of my ethnography, I also participated in the Goa University Choir and performed
with them at the Monte Music Festival. It was a thrilling experience,” she
elaborates.
Her
quest led her to some of Goa’s founding and leading choirs like those at Pilar
and Rachol Seminaries, the Goa University Choir trained by Santiago Lusardi
Girelli, Stuti Choir including GIM choir, Porvorim church choir individuals who
have been instrumental in leading these choirs such as Fr Bernard Cota from
Raia, Fr Loyola Pereira, Fr Peter Cardozo and Fr Max both from the Pilar
Seminary, Fr Tony Silva from Saligao Seminary and Fr Simon from Rachol as well
as teachers at Kala Academy, Luis Dias of Camerata Child’s Play, Rui Lobo and
Minguel Cota.
Her
research led her to some keen observations. “Faith is a strong determinant to
keep the choir tradition alive in Goa. Many singers I spoke to feel that choir
music brings them closer to God and if they have a talent for singing, they
must use it for God first. What I observed was that the Monte Festival is a
kind of religious music, albeit classical music festival. Secondly, I have
noticed how seminaries play an important role in preserving the music – those
who joined the seminary were trained in this music. They imbibed and imparted
this training to others, although not all joined the priesthood. I have also
noticed that while Goa is still trying to maintain its traditional music
heritage and not too eager to experiment, there are a few like Fr Bernard Cota
and Fr Peter Cardozo who are trying to infuse the melodies of the mando and
dulpod into hymns,” states Sebanti who clarifies that her research, which will
conclude in 2017, is yet inconclusive and a book on her findings is a
likelihood in the future.
