Making classical music resonate with the masses
Smita Bellur speaks to Bhumika Popli about her training as a Hindustani classical musician affiliated to the Jaipur-Kirana gharana and her attempts to popularise our musical heritage.
distinctive characteristics of the musical school you belong to — the JaipurKirana gharana? How does one go about choosing a gharana? A. Kirana gharana is represented by the gayaki of Ustad Abdul Karim Khan, Pandit Sawai Gandharv, Pandit Bhimsen Joshi, Prabha Atre, Gangubai Hangal, Parween Sultana etc. This gharana is not known for showing the “taal” interactions or mathematics of any sort. Jaipur gayaki brings in the thinker’s point of view, with its nuanced interactions with taal, layakari, vakra-taans, rarely sung ragas etc.
If one likes the gayaki of that gharana, then one chooses to learn that gayaki. One has to find a guru who can teach that gharana’s style. Choice of gharana is a matter of personal liking for a grown-up. So when children are initiated into music, it is the choice of their parents/guardians. Q. These days, very few people listen to Indian classical. How can Indian clas- sical forms can be made more popular? A. Classical music is never going to be as popular as other forms of music. Classical music has had its followers from centuries, but has always seen a lesser “market-share”. It will remain for probably less than 10% of the population, but that 10% is guaranteed. After a certain age, everyone starts soul-searching and Hindustani classical music is one of the routes or companions on the spiritual journey. It is entertaining, but the kind where people sway their head, more than merely foot-tap. This music reaches the soul.
If 100% of the population is exposed to classical music, then it will be fair to judge how many rejected it, or for what reasons. During the British rule, anything that was heritage or “Indian” was treated as secondclass, so probably there was no way in which classical music could reach every Indian’s ear. So it was never considered “cool”, as people rejected many things from our heritage.
Today, social media websites and private online streaming platforms are carrying good music to every corner, so classical music too is getting its fair share of lovers.
Personally, it has been my endeavour to make classical music reach the masses, and my chosen route has been, by delivering it through smaller doses through sufi poetry, spiritual/ bhakti poetry, ghazals and a short Hindustani Classical khayal rendition in my perfor- mances. Believe me, even at weddings, there are those who listen to my music and later, slowly have become interested in ragas. Q. As a singer you have done numerous live performances as well as studio recordings. Which one of these settings do you prefer more? A. Live performances are easier, because you know how well the audiences are receiving it through instant feedback, whereas in a studio, we don’t get a similar reaction. At times, the audience could be full of “wah wah” or “bahut ache” and at other times, a listener could have tears in his or her eyes, moved by the music, so the reaction is spontaneous and the resultant vibe is too strong to be ignored.
In a studio, it is more of a clinical environment, where a music director listens to you. His reactions are going to be the only feedback you will be getting.
Wherever it is — in the privacy of a studio or at a large public gathering, my unabashed love for music cannot be hidden; it will find expression. Q. In Indian film music, fusion has become a fashionable style of composition. Do you think it spoils the essence of Indian classical music? A. If the two or more music streams actually “fuse” then it is fusion. Else, it ends up just as a western arrangement for the base music/ song.
In Jodhpur RIFF, one got to see the Brian Molley Quartet or Maru Tarang with Jeff Lang, actually plunging and playing raga and folk music in the Indian raga system and our folk musicians dive into their musical system and perform in its framework. There are several examples of great fusion all over the net from decades. I feel the key is that one has to plunge into that genre and “fuse” into it.
Indian classical music is much bigger than the exponents; it doesn’t stand the risk of getting marred by any low mortals. Indian soulful music is grand, majestic and immortal. Q. For an aspiring vocalist, are reality shows the only way forward? If not, what should be their career path? A. Reality shows can polish and present you to the TV/internet audiences but before that, taleem is mandatory. After the reality show, to remain relevant is yet another challenge.
I am not a product of reality shows and many ace musicians that I know have become famous through live concert circuits and shows.
The growth path of a musician in my opinion starts after a 12-15 year training period, and regular performances, recordings that give on-the-job learning like the handling of mic and other performance aspects.
Perseverance in terms of regular riyaz and shows, acquiring taleem through the guru, self- study or knowledge upgrade, repertoire building, listening to good music are the tried and tested ways to improve and excel.
“Keep going where your heart directs and pursue your dreams,” is what I too get told. I love the advice, and am grateful to God for giving me such good gurus, mentors, audiences, family, friends and well-wishers.
Indian classical music is much bigger than the exponents; it doesn’t stand the risk of getting marred by any low mortals. Indian soulful music is grand, majestic and immortal.