Classical singer Kaushiki Chakraborty talks about her upcoming Marathi Abhangs concert in Mumbai

Over the last two decades, Kolkata-based Kaushiki Chakraborty has established herself as one of the leading Hindustani classical singers of her generation. A representative of the Patiala gharana, she is known for her flawless performance of khayal and thumri. However, her next appearance in Mumbai will see her performing in a different setting.

On July 17, the Ashadhi Ekadashi day, she will perform at Bolava Vithal, a concert of Marathi Abhangs, at Shanmukhananda Hall in Mumbai. The event, organised by Pancham Nishad, will also feature singers Pt Venkatesh Kumar and Pt Jayateerth Mevundi. Though there are videos of Chakraborty singing the Abhangs ‘Majhe Maaher Pandhari’, ‘Aata Kothey Dhaave Man’ and ‘Kaanada Raja Pandharicha’ (with Mahesh Kale) on YouTube, the interesting thing about the upcoming show is that she will be singing an entire section.

Excerpts from the interview:

How did this show come about and what preparations are you making?

I have been following the Bolava Vithal series for many years and am familiar with the repertoire sung there. I have also worked with Shashi Vyas of Pancham Nishad fame many times and he has a certain amount of faith in me. Of course, I am a newbie in the field of abhangs. Most of the singers who have performed in the show so far have been from Maharashtra or sing regularly in Marathi. Artists like Ranjani-Gayatri have grown up in Mumbai and in that culture. Yet as classical musicians, we are trained in how to learn. I am a sincere, dedicated student and see this as an opportunity to learn. I have received a lot of love from the people of Maharashtra. This is like giving back to the entire community.

Do you take a different approach when singing Khayal than when singing the light or semi-classical genres?

I am not a fan of this classification where some genres are easy and others are not so easy. Every style has its own beauty and aesthetics. Whether I am singing khayal, thumri, fusion, collaborative works or abhangs, I keep the basic tradition in mind. But technically, a khayal concert is about bringing the nuances to the audience during the performance. A religious concert is not about what you do in the song, but how you do it and what you leave behind. It is about the audience’s frame of mind after the song is over. There has to be something left that resonates. This is a trait I have inherited from my mother (Chandana Chakraborty).

Which other singers of religious music have impressed you?

Undoubtedly MS Subbulakshmi Ji. Her Venkatesh Suprabhatam is part of my life and Bhaja Govindam moves me every time. My husband (singer Parthasarathi Desikan) and I admire Anup Jalota Ji’s bhajans. And of course my father’s (Pt Ajay Chakraborty) bhajans. And Jasraj Ji. We have a pooja on Janmasthami and play Jasraj Ji’s bhajans on that day. There are many others.

Are you currently focusing on any specific projects?

I would like to mention the ‘Remembering The Divas’ concerts that I started. We have performed in Germany and in Mumbai at NCPA and NMACC. But it is something that I want to take everywhere I can. It comes from the realisation that we don’t talk about female legacy the way we talk about their gender counterparts. Be it their perseverance or their talent, there have been women artists who have had to face various challenges to become icons and pass on their legacy. So we have taken the work and lives of Gauhar Jaan Ji, Begum Akhtar JI, MS Subbulakshmi Ji, Shobha Gurtu Ji, Noor Jehan Ji and Kishori Amonkar Ji and woven a narrative full of melodies and stories.

How much do you discuss your work with your father? And how do you deal with your son’s education?

It used to be more like that with my father, but now there is no set way. Part of his brain lives in my brain and part of his heart lives in my heart. Whatever I do, his influence and guidance is there. As for my son Rishith, he is 15. We listen to music together and in fact we discuss life together. With him, I listen to artists he listens to, like Ed Sheeran. We both like Yanni as much as Raag Chhayanat. He is also a keen student.

What changes have you observed in the field of classical music over the last two decades?

Society has changed, lifestyles have changed. And with it, the world of music and the digital space. Earlier, artists used to sing a particular raag for over an hour. Today, listeners want short clips on their phones. As artists, sometimes we just have to come to terms with the change, even though we may not want to. We have to remember that the nature of listeners has also changed. We are used to assuming that they recognise the raag and appreciate the tihaais. But in reality, there are also people who discover a completely new sound and admire it for its impact. The only positive change I see is that there are more young people in this space. Whether it is Mahesh Kale or Rahul Deshpande, they are also attracting more young people to the hall.

What is your opinion on online teaching?

It became popular during the pandemic and has been an option afterward for those who cannot attend regular in-person classes. My husband and I founded Music And Us, where we combine the essence of the Guru Shishya Parampara with modern technology. Through our modules and through vivid visuals and interactive tools, we help students deepen their singing skills. It’s a hybrid learning experience that combines the best of both worlds and we have dedicated teachers to help us.

The classical world suffered a great loss with the death of Ustad Rashid Khan in January. Can you describe the impact he had on you?

Rashid Ji has been part of my life since childhood when he was at the Sangeet Research Academy. He has become family to us. We would have these conversations and he would sometimes ask why I sang a particular composition in that way and suggest a different way. So we were constantly learning. He is not physically with us but I feel his presence and will continue to do so. The same goes for Subhankar Banerjee Da (tabla maestro who passed away in 2021).

With all the traveling and constant performances, do you take special measures to maintain the quality of your voice?

Of course. There are vocal exercises, steam inhalations, certain Ayurvedic preparations and also vocal hygiene through appropriate nutrition. I also make it a point to regularly go to the mountains with my family, away from the chaos of the city. It is very relaxing. I am not the type of person who has to constantly perform. It is very important to maintain a balance.

Published on: Sunday, July 14, 2024, 00:05 IST