Lessons from Gulam: Asian Music in Bradford - Documentary ...

D O C U M E N T A R Y E D U C A T I O N A L R E S O U R C E S study guide
ernise the sound of Saz aur Awaz. He had obtained
an electronic keyboard and some amplification
and was now awaiting the delivery of
a conga drum set. He wanted to train Shaukat
as lead singer of the group and for him to perform
popular film songs. They also planned to
write new songs together. However, as I got to
know them better I realised that they were too
committed to older and more traditional styles
of Asian music for them to be able to succeed
in these ambitions. Shaukat himself expressed
doubts that he would ever have the confidence
to dance about on stage. Naya Saz, a large
group of younger musicians in Bradford, was
already established as an Asian pop band,
playing mainly “hits” from the large corpus of
Indian film songs. I could not imagine Saz aur
Awaz coming up with the same kind of stage
show.
Besides leading his qawwali group, Gulam was
also leader of the workshop team recruited by
Oriental Arts to give Asian music workshops
in Bradford schools. Champak Kumar, Coordinator
of Oriental Arts, often took part in
the workshops, but was sometimes otherwise
engaged and would then send Shaukat in his
place. A third member of the workshop team
was Norman, a Londoner who had lived in the
Bradford area for many years. In 1986 he was
making his living as a private music teacher,
mainly of guitar (classical, jazz and folk). He
had trained as a school teacher but never felt
able to submit to the final teaching assessment
and so had not qualified. He started playing
the sitar in about 1984 and was essentially selftaught,
as a close examination of his performance
technique in the film reveals*. He had
learned most of what he knew about rags, tals,
and compositions from Gulam. Because he was
the only musician in Bradford who played the
sitar, Norman soon found himself in demand.
This was a source of some embarrassment
because he realiscd that he did not know very
GUIDE: Lessons from Gulam 6
much about Asian music. But the sheer sound
of the sitar was enough for him to be courted
by several groups, including Saz aur Awaz and
Naya Saz. He occasionally played at Asian restaurants
with Gulam accompanying on tabla.
In the workshops Norman did most, if not
all, of the talking. This annoys some viewers,
who see this as an example of the English
participant occupying the position of power.
Why should the white man, who has obviously
learned about this music only recently, do the
talking, while those best qualified to speak (like
Gulam) are silent? Gulam, however, did not
see it that way. As far as he was concerned,
giving workshops was a chore and repeating
the same remarks at four workshops a day, two
days a week, a bore. He was quite content for
Norman to be given the hard work. Norman
could also explain aspects of Asian music in
Western musical terms that school teachers in
Bradford familiar with that system could readily
comprehend, and the workshops were for
the benefit of teachers as well as pupils.
III. THE FILMMAKING PROCESS
Lessons from Gulam would be described by
Breitrose as a “reflexive observational film”.