Today, Pandits Rajan and Sajan Mishra can be said to truly represent the living heritage that Banaras represents. As Pt Rajan Mishra proudly said, “Banaras is the oldest city in the world, and obviously, its culture is as old. Yahan, Banaaras mein, ras banaa rahta hai, sadaiv. (Here in Banaras, there is eternal nectar). It is the city of Baba Vishwanathji, (one of the most sacred temples in Banaras) a city of surrender and bhakti. “Sehajta” (natural state of being, innate) in this city is incomparable, nowhere else in the world will you experience this."
The two brothers, belonging to the famous Mishra family, sons of Pt Hanuman Mishra, nephews of the incomparable sarangi maestro Pt Gopal Mishra, grandsons of Bade Ramdas ji are really synonymous with Banaras and personify the picture that Banaras conjures up mentally. An image of spirituality, an unmatched musical tradition, an earthy matter of fact "Banarasi" ethos.
Pt Rajan Mishtra admits, “In this materialisatic age, people are getting more and more disconnected from nature and natural things. In Banaras this is not so — there is no artifice amongst the people of Banaras. If they are in a lungi, hearing music, that’s how they will continue. They won't put up an act because someone else is there, to impress) Koi dikhava nahi hai, jaise hain so hain. (There is no show, there is a grounded matter-of-factness) Wohi chain sangeet mein dikhta hai. Jitna aadmi sehaj, utna hee ishwar ke karib .(The same groundness and innate rightness is there in the music of Banaras). The more empty you are, the more receptive you are. If you are filled to the brim how can you absorb. This attitude of humility, of samarpan (offering) was taught to us at a young age by our father; jitney khaali ho, utni taalim hasil kar sakte ho. (How ever empty and receptive you are, the more you will absorb) He taught us to be receptive even to a beggar playing the "ektaara" (one stringed instrument), if he has something to offer. We still feel we have to learn all our lives."
For more than 100 years, Banaras has had un unmatched position in the known history of North Indian music. Pt Rajan Mishra said, “This started from Prasidha Manoharji, the great vocalist - in the 18th century, who was pitched against Ustad Tanras in the Patiala durbar, where he won. Pashupatiji, Shri Chandra Mishra ji (Girija Devi ji's guru) Bade Ramdasji, Chote Ramdas ji, Mahadev Prasad Mishra — the names are plentiful. There are many dancers who lived in Banaras — like Janaki Sahai, Sukhdev Maharaj, Mohan Lal ji from Jaipur gharana. Banaras truly represents what is known as the Ganga Jamuni Sanskriti, in all aspects, covering Sangeet Nratya and Taal.”
Carnatic musicians like Muthuswamy Dikshitar came and absorbed the music in Banaras and took North Indian Ragas, and presentation techniques back to the South. The Banaras tabla baaj today is perhaps the most popular tabla style, though is by no means the oldest. Pt Sajan Mishra puts it unequivocally “The oldest texts talk of Kashi; it was the cultural capital of the ancient world. We know the tradition of gharanas has only been around for 200-300 years, Banaras preceeds gharanas."
The brothers continued their reminiscences, {“Our musical journey started in 1967. We performed haazri for the first time at Sankat Mochan Temple; 50 years later we are still singing. What we learnt from the ethos that is quintessentially Banarasi, is, one can get taalim even from non musicians. In a storm, a big tree is uprooted, the shorter species don't topple over. So even Nature is teaching you to be humble, in supplication, not stand tall and arrogant, so you eventually fall. Aap jhukoge, toh seekhoge. (You bend in supplication, then you can learn). Receptivity is very important for an artist, and for a human being. Banaras has taught us this.
We are grateful we were born here, and heard such great musicians here, in the most exacting concerts. Bade Ghulam Ali Khan, Omkarnathji and Vinayak Rao Patwardhan, Pt Narayan Rao Vyas at least 25 times live in Banaras. We heard Ustad Amir Khan twice here. Today's generation cannot even imagine the type of bandishes and presentation we have heard and absorbed. That music will go above the head of today's audience. One needs to prepare oneself to even hear that level of music!!"
Several artists confirmed that there existed an unwritten law - all artists are taught, learn to appeal to the audience in Banaras; if you can be appreciated in Banaras you can perform anywhere in the world.
Pt Rajan Mishra confirmed "Ustad Vilayat Khan himself said this, on the Ganga ghat, Banaras mein kharaad hai - kharaad pe jab chadoge, tab ja ke nikhroge. (Banaras, musically is like a lathe machine for musicians, you get honed and polished here) The audience is so discerning."
Pt Sajan Mishra continued "Sankat Mohan,Vishwanathji, Jalpa Devi, Shitla Devi Mandir, Narsingh Chaupra, Durga mandir, Annapurna Devi - all these temples had a tradition of shringar , weekly, during which artists, from children down, used to perform haazri. We used to sit up all night first performing then listening to the seniors. Our whole lives in Banaras revolved round music. The self consciousness of performance went; we were taught to be confident while performing from childhood upwards. As a listener, be supplicant, as a performer be confident, not arrogant."
Pt Rajan Mishra pointed out, even in Banaras "the culture of showing appreciation is changing - we don't have a tradition of clapping to show appreciation - taali baja ke chiriya uraate the!!!" (one used to clap to scare away birds!!!) But we must appreciate the fact that the younger generation here is interested in music, and hears a lot. No doubt, our classical music is like amrit dhaara, sangeet amrit vaani hai, hum nahi rehenge, tab bhi sangeet rahega. (Music is like un unceasing flow of nectar, even if we cease to exist, the music will never end)"
