‘NO ONE HAS APPROACHED ME FOR FILM MUSIC’
Says Padma Shri awardee, Aruna Sairam, who adds that she loves film music. She also feels that today, younger artistes are bolder and ready to experiment without having the fear of making mistakes
Carnatic compositions are known for their variations, flow and of course, the clarity of the notations that the raag comprises. With a unique huskiness in her voice, Aruna Sairam has surely engraved her name within the list of legends when it comes to this genre of music. Sairam, who recently received the Sangita Kalanidhi award — the highest recognition in Carnatic music — was trained by former Sangita Kalanidhi awardee, Thanjavur Brinda and others. Sairam was just 14 when she performed her first full-length solo katcheri in Mumbai. Ever since then, there has been no looking back for Sairam. With a career spanning for more than six decades, Sairam has received a number of accolades including the Sangeet Natak Akademi award in 2014 and a Padma Shri in 2009. Sairam, who was recently in the city for a performance at the NCPA, talks about the current state of classical music in India, how things have changed over the years, and more. Excerpts:
You have done a lot of concerts till date, are you still nervous before going on stage?
To be honest, the anxiety sets in the previous day itself. A kind of a tension builds up. It is not that I am nervous but the mind is going on a particular track. The next morning, I am more or less quite all the time. I don’t interact much and I just do my routine. I will listen to the songs that I would perform and after sometime, I just shut off from it and read something that is completely off the subject. But that is only for a short while. I believe, no matter how much you plan, everything changes the minute you get on stage. I always go with a plan and slowly deviate from it.
Why haven’t you ventured into film songs?
I would love to do film songs, but the problem is that no one has ever approached me for it. I love film music. I constantly keep in touch with what is happening on that side. I think that is another level of creativity. For example, let’s take a raga like Reethigowlai or Nattaikurinji, what we take around 40 minutes to elaborate in a Carnatic rendition, here in films, in three minutes flat that raga is explored and says a story in itself. And hence, if I get a chance and the right song that fits my priorities, temperament and voice comes my way, I would love to do it.
How would you say you have evolved as an artiste over the years?
When I was a beginner,
I was very self-conscious and wanted to be nothing short of perfect. You are always worried about the accuracy and the correctness of everything. But slowly, as you evolve, you realise that you are doing this as an offering to your creator and the God that you see in the audience. Once I realised that, I knew it was another game all together.
After winning the Sangita Kalanidhi, did you think of slowing things down?
When I received that award, I thought probably now I am in a phase where I can take things slow and do other things. But, now, I am back again in the whole process. I am constantly doing something or the other, especially with the younger artistes. I feel I learn so much from younger people. I am doing a lot more collaborations this year, in the months to come.
As you said, you collaborate a lot with young artistes, how do you think is the youth different now compared to earlier days?
There were a lot more restrictions during my days. We would think a 100 times before asking a senior anything. While respect for elders is good, today, I see youngsters go out there and do what they want without having the fear of making mistakes. They are bold and I really love that fact. And this, also reflects in their music. They experiment a lot and that is what I love the most when I collaborate with them.
When I was a beginner, I was very selfconscious and wanted to be nothing short of perfect. You are always worried about the accuracy and the correctness of everything.
ARUNA SAIRAM, SINGER
But a lot of technical sounds have come into the new-age music. Was it a challenge for you to adapt?
No, it wasn’t because I feel what I bring with me is the soulfulness of my music. That is very different from what is going on now. I know that I am bringing that added value to the digital savviness. And that synthesis is what creates the music that means something.