‘Bol, ke lab azad hain tere...’
We need to be urged to speak out in protest, says Hindustani classical vocalist Shubha Mudgal in an interview about the music of protest,
which she sang at the Open Space concert at the Kala Ghoda Festival in February 2008.

Open Space (OS): Hindustani music is all about diversity, isn’t it? How did Hindustani music internalise varied styles and
cultural influences over the centuries in both its style and content?

Shubha Mudgal (SM): Hindustani music has emerged as a significant example of the composite culture that is typically Indian.

We have some very obvious examples: Take the case of folk repertoire like kajri, hori, chaiti being a part of the thumri-dadra repertoire.
Or, the more recent inclusion and adaptation of ragas from the Carnatic system such as Saraswati, Amrit Varshini, Janasammohoni etc
for the Khayal repertoire. My guru Naina Devi ji, who taught me thumri gayaki, once told me that the shift of taal in thumri gayaki from
a 14-matra cycle to a 16 or 8-matra cycle in the laggi section, probably was a result of a give and take from vocal forms such as qawwali
and haveli sangeet.

At the end of the day, Hindustani music like many other musical systems defies modern maps that divide regions politically but obliterate
cultural contiguity. Hindustani music has itself drawn from Persian influences, from indigenous but non-Hindustani influences and from
Western music and more.

OS: As an individual artiste, how do you perceive and recreate this cultural diversity in your own renditions? Any specific examples?
 
SM:  The realisation that music is a tapestry of sorts and contains many threads from various sources has made me accept the fact that
our notions of purity can often be shaken.

For example, I would no longer say that classical music is ‘pure’ and other forms ‘impure’. I have been fortunate to have learnt from some of
the finest gurus and musicians of our times, all of whom have celebrated diversity.

My guru Pandit Ram Ashreya Jha sings and composes dhrupad, khayal, thumri, kirtan, bhajan, tappa, folk songs and more.

Similarly, Naina Deviji was known as a diva of thumri but also enjoyed ghazal and music theatre and Pandit Jitendra Abhisheki was well known
for his contribution to Hindustani music and Marathi stage music.

With gurus such as these, I have been fortunate to inherit an interest in diverse forms of music.

OS: Your music ranges from the 'traditional' to what is today termed 'world music' and speaks of protest as well as harmony. What have been the
milestones in your journey?

SM: I have been fortunate to get the opportunity to work with creative people from different disciplines, which has helped my involvement with classical music
as well as non-classical music.

For example, in 1993, SAHMAT, organised a marathon Sufi Bhakti festival titled ‘Anhad Garje’. I prepared a repertoire of Kabir, Baba Bulle Shah, and
Alakh Das verses. Some of these verses were sourced by friends and activists, who suggested I compose and sing a special repertoire for the festival.

Since then, I have continued to compose and render verses on a variety of issues that are of concern and significance to me, my friends and music lovers.
Many poets have been generous to send me verses that they would like to hear me sing, enabling me to develop a fairly large repertoire of PROTEST through music.

OS: In what way is the poetry of Kabir, Faiz and Ludhianwi relevant today?

SM: Their works are very relevant. In fact, at times, I feel they are more relevant now, than ever before. After all, what did Kabir say?

He says:- ‘Sadho dekho jag bauraana’ or Sadho, look the world has lost its sanity. And have we not lost our sanity? Have we not witnessed some of the worst
communal violence in recent years? Are we not witnessing brutality and exploitation every single day of our lives?

And when Faiz Sahab says ‘Bol, ke lab azad hain tere...’ is he saying something irrelevant? Don't we need to be urged to speak out in protest?

There is a message from these poets for people from all walks of life, not just the youth of this country. There is great strength, conviction and fearlessness
and immeasurable artistic worth in their works. Qualities that we can benefit from.

OS: Young people are exposed to a great diversity of music today.   What was your experience when you were growing up?

SM: Where is this wide array that you mention? I hear the same 20 songs on every TV channel, every radio channel, every mobile phone ring tone, every caller tune!

Do you hear children singing children's songs anymore? No, they too sing the latest Bollywood tracks, even if it happens to be a raunchy, provocative, vulgar song that
leaves nothing to the imagination.

Do you hear wedding songs any more? No, we all play the latest dance number from the latest blockbuster at weddings. Let's not fool ourselves --diversity in Indian music
is under serious threat.
Luckily, I grew up in a home that really loved music. So I listened to a lot of Hindustani classical music with my parents. But my father also bought me my first LP of the Beatles.
He also painstakingly compiled his favourite Kishore Kumar songs for me.
                                                                                         
My mother taught me Tulsidas’ famous ‘Thumaki chalat Ramchandra baajat paijaniyaa..’ in the tune immortalised by D V Paluskar. She also taught me Kumaoni folk songs,
wedding songs from Uttar Pradesh and we have also driven back in a dinky car after watching the film Sholay at the local cinema hall singing ‘Ye Dosti…’ at the top of our voices!

OS: Is the fusion between Indian classical and western music one way of keeping Indian youth interested in Indian classical music?
 
SM: Not really. I enjoy fusion both as a listener and a performer. But I do not think that fusion between classical music and western music could ever help nurture an interest in
classical music or in western music.

At best, you can get a very superficial introduction to either of the systems or styles.

OS: When did your involvement in social movements begin? Do you feel that music is able to bring home the message of peace, non-violence, equality?
 
SM:  It is natural that my concerns and beliefs be reflected in my work which involves making music.

However, I will not be able to assess whether my music has an impact or not. I mean, how can I tell you how many men have stopped beating and brutalising
their wives because I sang a ‘Mann Ke Manjeere’?

Or how can I predict if people from different communities will stop butchering each other if they hear me sing a poignant ‘Bagiyaa lahu luhaan…’.

However, I will continue to sing my songs, regardless of the impact they  make, regardless of whether they become a hit and are shown 12 times a day on MTV or Channel V!

Open Space is the civil society and youth outreach initiative of the Centre for Communication and Development Studies (CCDS). CCDS is a social change resource centre
that researches and disseminates information on issues related to social justice and sustainable development.

Open Space, CCDS - 301, Kanchanjunga Building, Kanchan Gully, Off Law College Road, Pune 411004. Email: openspace@eth.net.
Websites: www.openspaceindia.org    and  www.infochangeindia.org
Tel: 020-25457371