Mind over melody

Powerhouse musician Shubha Mudgal does not mince words as she chats about her journey, the importance of gurus and the ills of nepotism.

Renowned Hindustani classical musician Shubha Mudgal was the guest of honour at the ‘Sur Aur Saaz’ event organised recently by the Prabha Khaitan Foundation in association with Ehsaas Women at Kolkata. Excerpts from an interview on the sidelines of the event:

How did you realise that you should have a career as a singer?

I grew up in a family of academicians and family members who taught English Literature, but my parents were absolutely, passionately fond of the arts and they did their best to give me and my sister every opportunity to engage with all kinds of arts. My parents had also encouraged me to learn dance. So, I started learning Kathak. My parents never indicated that arts were something one could only do during leisure times. They encouraged me to continue with dance and music along with my studies. So, it was always a matter of deep reverence for the arts and a strong belief that engaging with the arts only enriches one’s life.

When did you discover your calling?

Actually, I didn’t discover any calling. Shortly after my graduation, my mother sat me down and said she could make out that I was crazy about music. My mother said I will have to fully commit to music if I want to do it and that I need not do what everybody else does. She said she would give me a year off to take a decision whether I wanted to pursue music. It just took me a month to decide that music is something I really wanted to pursue. (smiles)

How important is it to have a guru while pursuing the arts, particularly at a time when people are learning from online platforms?

I think in the Hindustani tradition of classical music, the presence of a guru is all important. A guru is not just a teacher. The relation between guru and shishya in the sphere of Hindustani music is all about providing customised training to each learner. Despite there being a particular style of teaching or a template one may follow, each guru actually customises training for each shishya and that is why it is so important.

The world has changed completely in the last 20-25 years. Do you think the shift has affected the very process of learning?

I think tradition is dynamic. It’s constantly changing. So yes, changes are happening. The interactions and the time spent with gurus nowadays due to time constraints may have become compressed. Therefore, we have to think how to be able to share our knowledge with disciples in the most effective manner. At the same time, there are certain strengths that were not there earlier.

We can now avail online platforms for follow-ups in case our students are not able to come for classes, owing to unavoidable circumstances like rains or riots or lockdowns, though the technology has its own challenges, I have to say. But follow-ups can be done in many ways, which were not possible in earlier days.

How much do you believe in the traditional definition of gharana at a time when information is available so freely?

Gharana is very important for a student of music. I respect the tradition of the gharana, because it really has provided us with some of the most iconic styles of looking at music. And at the same time, the gharana tradition itself shows us with ample illustrations how within a gharana, there is an implicit command to be yourself, find your own path. I think not many realise that the gharana tradition itself is such that it allows one to be himself or herself, while retaining certain familial characteristics of the style of music. So I think gharana is really important, but at the same time, I do believe the pathbreakers have shown us how within a gharana, one can forge a style, which is unique.

You are very socially active, politically aware and you stand up for the causes you believe in, besides being a singer. How do you manage so many things at a time?

If you look at the great pioneers of Hindustani classical music, many people have done multiple things. When I look back at the history of Indian music, I wonder what we are doing and why we are not able to change things. The examples are set by our pioneers. It is very tough to balance things, but I feel very blessed to have the gift of music in my life. If I spare some time to think of the larger fraternity of musicians, that’s nothing; that’s what I should be doing actually. My very existence and identity, in a sense, has been created by the gift of music in my life.

How far do you think nepotism, which is the big debate now, applicable to art?

I don’t think anybody will give a young musician an opportunity for too long if they are not good at their work. A musician with a lineage may get a few more opportunities, but not for long, if he or she is not good at their art. A musician may have a weakness for his children or favourite disciple, but unless the disciple proves his merit as a musician, how long will he be given a chance? So, the accusation that some are getting more concerts does not hold water; they are getting more work, because the audience likes them. Their success can be due to a variety of reasons, but certainly not due to only nepotism or favouritism.

TWF