Pandit Kashinath Shankar Bodas
- anshulanuj12
- 2 days ago
- 5 min read
A legacy of Paluskar Parampara’s musical omniscience
Pandit Kashinath Bodas was a rare combination of an accomplished performer, a sensitive composer, and a devoted teacher of Hindustani classical music. His contribution to carrying forward the rich tradition of the Gwalior gharana, while also modernizing its outlook, remains invaluable in the world of Indian classical music.
Early Life
and
Musical
Upbringing
Pandit Kashinath Bodas was born into a family deeply rooted in Indian classical music. His father, Pt. Shankar Shripad Bodas was a disciple of the legendary Pt. Vishnu Digambar Paluskar. Following his guru’s instructions, Pt. Shankarrao Bodas moved to Kanpur to promote and teach Hindustani Khayal music. From a young age, Kashinath was drawn to the tabla, which he mastered quickly, gaining a deep understanding of rhythm that would later enrich his vocal music.
A Move Towards Vocal Artistry
Although he began with percussion, Kashinath eventually turned to vocal music. He received intensive training in the Gwalior Gharana from his father. His uncle, Pt. Laxmanrao Bodas also guided him, along with Pt. Balwantrai Bhatt of Banaras and Pt. Prahladrao Ganu of Bombay. This blend of influences shaped his artistry and gave him a strong foundation in classical singing. Kashinath Bodas became a versatile vocalist of the Gwalior style, performing khayal, tarana, and bhajan with equal ease. His music carried both tradition and innovation. A turning point came with his association with Pt. Kumar Gandharva, whose influence modernized Kashinath’s approach and added a new dimension to his style. He often used to visit Devas, in Madhya Pradesh, to the place of Pt. Kumar Gandharva’s residence and benefited from one-on-one Talim in the ancient Guru-Shishya Parampara padhhati. Vid. Kalapini Komkali often remembers him being at their house, ‘Bhanukul’, for intense Talim sessions from Kumarji. The musical style of Kumarji left a deep impact on Kashinathji’s musical thinking, which can even be seen through his compositions, both Khayal Bandishies and Nirguni Bhajans.
The home of the Bodas family, along with their institution “Gandhi Sangeet Vidyalaya,” was a true epicentre of music in Kanpur and the surrounding region. In the heart of an industrial city, they nurtured a rich musical environment that attracted countless artists. It became a sanctuary for music lovers—a place where tradition and creativity flourished.
Whenever a musician happened to visit Kanpur, it was almost customary for them to stay with the Bodas family. Their home was not just a residence; it was a vibrant hub of discussions, riyaaz, and soulful exchanges. Both Pandit Kashinath Bodas and Veena Tai were fortunate to interact with and learn from many distinguished artists who graced their home.
My guru, Sri Atul Khandekar, often recalls a fascinating anecdote shared by Veena Tai. She would fondly tell how Pt. Kumar Gandharva, whenever he visited Kanpur, had a unique ritual. He would insist on a boat ride along the Ganges. But this was not just a casual ride; his destination was always the bridge over the river. There, beneath the stone arches, he would practice for hours. Why? Because that very spot produced a natural, resonant reverb—a perfect acoustic setting that seemed almost mystical.
Just imagine the scene: Kumarji, seated in a gently swaying boat under a bridge, his voice merging with the rippling water and echoing arches—nature itself becoming a part of his music. What an extraordinary experience that must have been!
A Performer
Composer
and a Guru
Pandit Kashinath Bodas was not only a gifted vocalist and composer but also a devoted guru whose contribution to Hindustani music extended far beyond the stage. His deep commitment to teaching made him a guiding force for many aspiring musicians. Over the years, he mentored a number of disciples who went on to become accomplished artists in their own right. Among them are renowned names such as Ranjani Ramachandran, Rachna Bodas, and Sushma Bajpai, each carrying forward his teachings with dedication and artistry.
Music ran deep within his family as well. His younger sister, Vidushi Veena Sahasrabuddhe, blossomed under his guidance and eventually emerged as one of the most respected and celebrated vocalists of her generation. Pandit Kashinath Bodas’ influence was thus both personal and profound—shaping not only his disciples but also the musical legacy of his family.
He left this world on 20th July 1995, but his presence continues to resonate through his compositions, his disciples, and the countless listeners who were touched by his music. In the truest sense, Pandit Kashinath Bodas was a torchbearer of tradition, a visionary artist, and a guru who nurtured future generations of Hindustani classical music.
Here are 4 recordings, celebrating the legacy of Pt. Kashinath Bodas ;
The first known recording of Pandit Kashinath Bodas features Raag Bhairav, a melody traditionally performed in the early hours of the morning. In this rendition, Kashinath ji presents the bandish “Shobhe Jata Tero Hai”, a composition of Pt. Kumar Gandharva, set to Madhyalaya Jhaptal. The recording has been produced professionally for Rhythm House, as part of their celebrated Ashtaprahar Series.
Although the duration of the recording is only about sixteen minutes, it beautifully demonstrates Kashinath ji’s depth and sensitivity as a vocalist. Within this brief span, he explores the full grammar of Raag Bhairav, carefully weaving its characteristic phrases with artistry and precision. His interpretation remains faithful to tradition, while at the same time responding to the nuances of the composition itself. A particularly striking feature is his handling of the slightly elevated Shruti of Komal Rishabh, which differs from the conventional setting of Raag Bhairav. This subtle shift adds a distinct flavour to the rendition, highlighting Kashinath ji’s ability to balance traditional grammar with innovative musical sensibility.
In this recording, Pandit Kashinath Bodas presents the chhota khayal “Sukh Data Saban Ke Shankar” in Raag Yaman, set to drut Teentaal. The bandish, composed by the illustrious Pt. Balwantrai Bhatt of Banaras is marked by its intricacy and brilliance. It reflects a rare balance of bol (words), taal (rhythm), and sur (melody), showcasing the sophistication of the composition.
Kashinath ji’s rendition captures the dynamic flow and momentum of the piece — what in Hindustani terminology is described as gativaan, an energetic forward movement that gives life to the composition. His interpretation not only preserves the structural depth of the bandish but also highlights its inherent vitality, making the performance both scholarly and aesthetically captivating.
In this recording, Pandit Kashinath Bodas presents two different Taranas in two distinct Raagas. The first is a Tarana in Raag Rageshwari, set to madhya–drut Teentaal, followed by another Tarana in Raag Sohani, performed in drut Teentaal. The manner in which these two compositions are rendered back-to-back suggests that the performance may have been part of a lecture-demonstration, where Kashinath ji was showcasing the versatility and expressive power of the Tarana form.
Interestingly, Tarana became a form that his younger sister, Vidushi Veena Sahasrabuddhe, later embraced with great dedication. She was widely admired for her exhilarating and expansive renderings of Taranas, a legacy that can be traced back to the musical environment and inspiration she shared with her brother, Kashinath ji.
In this recording, Kashinath ji presents his own composition of a bhajan by Meerabai, “Uth To Chale Avadhoot.” Interestingly, this is a Nirguni bhajan, which is notable since Meerabai is most often associated with the Sagun bhakti tradition. The composition reflects Kashinath ji’s creative depth and his ability to bring out new dimensions in devotional poetry
This bhajan was later recorded in the voice of his sister, Vidushi Veena Sahasrabuddhe, whose rendition carried it to a much wider audience and helped the piece find its place in the collective memory of listeners.
References
Rajan Parrikar Music Archives https://www.parrikar.org/vpl/catalogue/hindustani/kashinath-bodas/
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Hindustani Classic Music and Everything FB Page
Special thanks to Sri. Atul Khandekar
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