Carnatic vocalist Sudha Raghunathan is extremely self-critical and loves to keep her art relevant for the next generation. The thinking artiste argues for more state policies for protecting legacies. By Shailaja Khanna
One of the seniormost Carnatic vocalists today, Sudha Raghunathan is a rare gem. In addition to her undoubted popularity, she is also a felicitated musician despite her relative youth. She received the Padma Bhushan in 2015 and achieved the pinnacle for a Carnatic musician after being awarded the Sangeet Kalanidhi award by the Musical Academy in Chennai. Her voice, with its crystal clear ringing bell-like tone, is a result of immense labour. She possesses effortless vocal command and her tautly presented laya and exciting stage presence make her concerts an unforgettable experience. It was a pleasure to chat with her about various aspects of being a vocalist as she is acutely intelligent, analytical and articulate.
The life of a musician is filled with challenges though it looks glamorous to the masses. The constant travel, hectic schedules and daily practice take a toll on the individual. Before a concert, an artist is filled with anxiety because he/she has to face a different audience each and every time. Travel is filled with fatigue and sometimes the gruelling hours leave the artist with a few hours of sleep before the next concert. When Sudha was younger, she used to sing at 20 concerts each month. She slowly tapered it to 18-15 and these days, it has come down to five concerts a month.
Sudha started our chat, talking about voice culture. She admitted, “Vocal culture is something that has recently been developed in the Carnatic tradition – perhaps earlier vocalists were not open to the fact that techniques could be learned or that they are required to hone a voice.”
Asked about the relative dominance of taal in Carnatic music vis-a-vis Hindustani music, Sudha replied, “In Carnatic music, the taal is, of course, an important aspect and to master laya, the training of the mind is critical. You cannot hold the attention of the audience without taut taal while having a tight grip on your rhythm. But the concert is not only about taal or even about the raga or its length, it’s the content. It is all about keeping the presentation non-repetitive, crisp and interesting. I constantly ask feedback from people about my concert, wonder if I have overstretched any aspect. It’s important to hear your own concerts, introspect and analyse your music. Today, my guru is not with me to get feedback from but I analyse myself. Because of my guru, I have always been grounded.”
I asked Sudha what she was proudest of having achieved in music. She replied disarmingly, “I don’t know whether I want to use the word proud; I would say I feel gratified, fulfilled and overwhelmed to have used my music as a tool to reach out to various causes I feel for. I started a foundation called Samudhaaya on the strength of my music; the first few concerts were by me and the funds I garnered, I gave to various causes I believed in. We have helped perform 100 heart surgeries for underprivileged children and treated cancer patients. In 17 years, we have raised Rs 4 crore. It’s not only my music, there have been other philanthropists too.
“Also, I have taken Carnatic music to government schools; one day in a year I was able to go and sing to the children, get them to sing along. I have sung at the Puzhal prison where I performed a kutcheri (concert) for about an hour. It was very moving to see that the music touched them; most were in tears and when I was leaving, several blessed me and asked me to come back and sing again. These are the proudest moments for me; when my music, the sur has touched the soul of someone who is not a regular listener. When I sang at the UN on October 2, 2016, 50 years after the first Carnatic singer MS Subbulakshmi sang there, it was another proud moment. Receiving the two Padma awards were proud moments. It basically endorses that you are on the right path, it gives you the certainty that you are doing the right thing.”
This thinking musician has relevant opinions on issues that worry her in the world of Carnatic music. “There is not enough support for classical music. There are a lot of individual organisations and sabhas, who promote Carnatic music all over India and indeed the world. But the State governments need to do more. They need to support artists who have retired, who are no longer able to perform but still need to eke out a living. The government should create a platform of support, something like a monthly insurance maybe. Our State government is very quiet on classical music; they are not involved in music festivals at all, despite Chennai being the hub of Carnatic music. We should have a One Voice forum to get things done through the government. Another area of concern is in schools. I wish classical music could be introduced in schools from Class 1, at least the children’s ears will be attuned to hearing classical music. The young generation turns to Western and film music as it does not get to hear enough classical music; the young need to hear classical music repeatedly in their homes and schools. Even two hours a week is not much for music or dance. If they can get familiar with the art from an early age, their interest would grow.”
On being asked what goals were left to her now, Sudha admitted they kept changing. “I would like to teach more, to pass on to the younger generation. I have been teaching less and singing more till now. But I do want to teach more, pass on the music of my Guru M l Vasanthakumari. With this in mind I have started a music academy, Sudhaarnava, last April. We have so far recruited only two students; I already have four who are performers. Ideally, I would like to take on children who are starting to learn, from the age of 6-8, as it’s easier to teach afresh rather than teaching them to first unlearn. After learning for around 8-10 years, whether they become performers or not is not important; they should love the music for itself. I would also love to present unheard kritis (compositions) maybe record them too for archives so after my time they remain.”
She would also love to work for a Phd on music and medicine. “Music has a therapeutic effect on the organs, the nerves. It has an effect on the heart, hypertension, depression, gastritis, even insomnia. Certain ragas we believe can help, and even eradicate certain ailments. Music helps alleviate pain as well.”
We ended our fascinating chat, with some practical advice from this great vocalist to young Carnatic vocalists. “For youngsters practising today, there should not be haste in only learning kritis and performing on stage. Practise, hold a note, focus on your aakar.”
(The author is a music critic)