Abstract
Although dhrupad is believed to be the oldest and most sacred genre of North Indian vocal art‐music, its performance suffered a severe decline in the middle decades of the present century. In recent years, however, a revival of interest in the genre has occurred. Since 1975, festivals of dhrupad in Banaras, Vrindaban and other centres have provided a catalyst for revival, in the form of a context for dhrupad performance that respects the ideology traditionally associated with the genre. This ideology is manifested in performers’ statements about dhrupad, in musical style and performance practice, and in many aspects of the organization and presentation of the festivals. It is argued that the festivals have provided a transitional context between the pre‐Independence palace/temple and the post‐Independence concert‐hall/studio.
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