Layout and Design Concept: Archana Shastri - Director of Marketing
Design by Pritpal Ajimal, Kikuchi
Proofreading & Edits: Stephanie Martin - Marketing & PR Officer
Published by Archana Shastri on behalf of Milap Festival Trust, Liverpool Hope University, The Capstone Building, 17 Shaw Street, Liverpool L6 1HP
www.milapfest.com
“ Art reminds us of wh At more is left to do in the world.”
Younis
director, Bush theatre
Madani
artistic
Contents
foreword
An original and exciting sound is making its presence felt, slowly but emphatically, across the performances and concert halls of Britain, fostering new traditions, and creating innovative, attractive soundscapes for appreciative audiences.
This is the sound of Indian classical music as played and presented by a growing number of young British musicians, who are happily creating a new musical tradition within Indian Music, shaped by their own skills and sensitivities, acquired by growing up in the West, surrounded by diverse musical traditions.
After working hard to gain excellent musical foundations, from many inspiring teachers in Britain, these young musicians begin by playing the traditional Hindustani or Carnatic compositions of famous composers. Gradually as their creativity and curiosity gains an upper hand, they experiment with the diverse musical traditions that they have come across, and new musical expressions begin to emerge.
Unfettered by limitations of an ancient musical tradition, and undaunted by the possibility of limited support and success, these talented musicians keep pushing the boundaries of what they have learnt, and have thus given birth to to a new musical tradition or genre.
Here, at Milapfest, we have given this music a special name: The Great British Gharana. Gharana in Hindustani Music means a “tradition or school of music linking a number of musicians”. Undoubtedly these young musicians have created a new musical tradition or ‘Gharana’ in Indian Music, which is very much ‘British’ — which is why we have chosen to call them The Great British Gharana, or GBG in short!
We have worked for over 16 years now to support and celebrate the evolution of the Great British Gharana; we even staged a major show at the Southbank to showcase the finest of these exciting musicians. These young musicians need and deserve all the moral, logistical and financial support we can give them. It is the duty of all the organisations and the senior musicians/teachers in this sector to support and encourage these talented young people and help enhance their creative abilities!
We have produced this book to celebrate and showcase some of these fantastic musicians; but without a doubt, there are many more of them, all of whom could not be accommodated in this book. So look out for the next edition soon; and do not forget to do your own bit to support, encourage and inspire them!
Prashant Nayak
Executive Director, Milapfest
introduCtion
The Indian diaspora in Britain and other parts of the world, is characterised by hybrid identities as expressed in cultural traditions, including food, religion, fashion, film and music. With the patterns of international migration, Indian classical music appears to be traveling around the world, taking root in what may be identified as ‘traditional’ as well as ‘new’ forms. Alongside this, organisations, producers, supporters and, of course, artists, have influenced the travel, establishment and development of Indian Classical Music in England.
The Great British Gharana, a concept coined by Milapfest in 2011, suggests that a style and approach to Indian Classical Music exists that is unique to this country, and it has created music and individuals that are distinct to Britain. This book tells the story of a series of young artists whose talent and ambitions have been nurtured in a unique way which has allowed them to become the role models and examples they are today. Their stories are inspirational, unprecedented and fascinating, and are just a small part of the new hybrid identity of the South Asian diaspora around the world.
Their identities are shaped by their teachers, influences and inspirations, not just from within Indian music, but also from the plethora of different cultural influences that coexist in Britain today.
The Great British Gharana includes musicians, ensembles, producers and organisations, and this book represents just a small, though prominent, set of inspiring illustrations of dedication, passion and creative spirit.
I have been privileged to work closely with all of the individuals featured in this book, and in some cases, I have seen their growth and development first hand, working with them in training programmes, performances, tours and other projects. The young musicians profiled in this book have been members of Samyo (The National Youth Orchestra for Indian Music) and Tarang (The National Indian Music Ensemble), as well as, in many cases, prominent individuals or members of other ensembles. I know them through conversations, interviews and observing them throughout years of excellent work with Milapfest, and share their stories with you to help inspire, inform and educate. In this way, we hope to show how they are distinctively ‘products of Britain’. In turn, this might go a small way to helping us understand how musical forms can move, adapt, help form cultural identity and take root around the world.
GoBi
It’s always heartening to witness the success of a quiet leader, and the blossoming of an apparent introvert, into a young man whose passionate, dazzling performance persona does not quite match his off-stage, real-life character. Perhaps best expressed by one of Milapfest’s dearest friends and colleagues, Samyo’s Principal Conductor Gaurav Mazumdar, Gobi is the anchor that every team needs: “Ever smiling, I used to look at Gobi whenever I had challenging moments and he always had a calm aura about him. Even when discussing problems, he had a smile and a certain calmness about him. He brought in a lot of positive energy and was extremely integral to the orchestra. I wish him all the best and I hope that he continues to radiate his calmness and happy self to the world, which needs it today more than ever.”
Tracing his growth from young Samyo student to the integral member of the Tarang ensemble that he is today, Gobi gives the impression of being under the radar within a large group of musicians, yet he is conspicuous by, and missed in, his absence. His development into a role model tells the story of confidence,
friendship, and dreams fulfilled, and there is much more to be experienced in the future. Gobi’s earliest memory of music is his first Mridangam lesson: “I was around five years old and I distinctly remember walking into the classroom frightened to death by being in this new environment. I was so scared that my dad actually stayed for the entire lesson just to put me at ease, meaning he’s genuinely been there for every step of my musical journey so far. My master went through the basic ‘Tha Thi Thom Nom’ and to this day he still reminds me of how quickly I was able to pick it up. The memory sticks with me because of how quickly I began enjoying playing the Mridangam and the significance of that day in terms of the musical path it led me on.”
Typical of the route of many young South Asians in Britain, Gobi found in Carnatic music a means of being fully immersed in the culture and tradition of his parents, and today, it is an integral part of his life. “After completing my grade five exam in Mridangam, my master began teaching me about the role of the Mridangam as an accompaniment in concerts. From that point onwards, music started transitioning from being a hobby into a passion, which was fuelled by me beginning to perform in concerts more often. One of the biggest impacts of music on my life was when it became a big outlet for me during my exams, taking my mind off studies for a little bit, allowing me to return to it with a fresher mind.”
Gobi came to Milapfest through the recommendation of cousins and his teacher, Bangalore R Prathap, who saw it as a good opportunity for the young student. He auditioned for Samyo in
2010, and since then, has been a part of every significant orchestra event, including the 10th anniversary album release and concert, performances at The Royal Albert Hall with the National Youth Choir of Great Britain, collaborations with the NYJC (National Youth Jazz Collective) and NYBBGB (National Youth Brass Band). He has cherished the privileges he has been afforded, as well as the training experiences he has had: “The amount of opportunities Milapfest provide is endless. The most surreal thing about it is the fact that you are able to spend time with some of India’s best artists. For me to be able to have lessons with someone like Patri Satish Kumar was a once in a lifetime opportunity and is something that may not have been possible without Milapfest. Through this, I was able to become a student of his.” The concerts that Gobi has witnessed during his Milapfest and Music India Summer School experiences have also played a big role in his career: “[Being in Milapfest] also allowed us to see all these amazing artists perform concerts, which was just special. I feel as though whatever stage of your musical journey you’re at, you gain so much from this experience. A big part of Milapfest is their orchestras, Samyo and Tarang. From being a part of both, I was exposed to aspects of music that I hadn’t seen before.” One of these, the exposure to Hindustan music, gave him a greater experience and understanding of a new musical form, and others included live performances, for instance, on BBC Radio.
Gobi is grounded, modest and respectful of his past, and of the influences that have taken him so far so early in his life. “The biggest influences of my musical journey have to be my
parents and teachers. Without my parents I may never have been exposed to the world of Carnatic music, and their encouragement throughout the years has allowed me to continue to grow as a musician.” Gobi also credits his first guru, AN Somaskanda Sarma, as the reason he has his passion and ability in music: “He kept on giving me drops of wisdom and always made sure I was pushed to the maximum, something that I cannot thank him enough for.” Music has also given Gobi what he sees as lifelong friendships, confidence and a passion to follow in his life. “It also involved me having to perform in front of large audiences and constantly meet new people, which translated into me becoming that bit more confident in various other aspects of life.”
In the future, he hopes to improve both as an individual and ensemble player, and wants to make the most of the platform that Milapfest provides, although he is not yet certain of a career in music. “I have no set aims on being a professional musician but I do hope that one day I will get the opportunity to perform with the world class artists that I have been privileged enough to learn from.” In addition, he thinks carefully about what Indian arts needs in the future, and particularly that it just “gets bigger and better”. He says, “I think the biggest challenge that the Indian arts sector faces is to try and reach out to a greater proportion of the population. I feel as though there are several musicians and fans of music that are completely unaware of the genre and it would be amazing if at some point Indian music became better known regionally and globally.” His own role, and the potentially pioneering force that Tarang may be, may well be central to his dreams for Indian arts in the future.
Name
Gobi Varatha-Rajan
Instrument/Style Mridangam/Carnatic music
Gurus
A.N Somaskanda Sarma, R.N Prathap, Patri Satish Kumar
Biggest influence of your music
My gurus and my parents
How did your Milapfest Journey start?
Prathap master encouraging me to audition for Samyo
If I could make my artistic dream come true, I would... Have the opportunity to perform with world class artists
Favourite artist
Patri Satish Kumar
“Ijust want to go out there and make music!” Cheerful and inquisitive, Jasdeep’s approach to his musical career seems straightforward yet ambitious. Examining his growth over the years, as he improves his skills and performance but also looks beyond his Hindustani Music training, it seems clear that his wide interests will lead to a successful and varied musical career. Jasdeep’s exposure to various performers, teachers and producers has given him a perspective that makes him question the Indian arts sector as a whole: “I think we are at a really interesting time at the moment. We have many young Britishborn musicians slowly emerging. The generation before us were all musicians who emigrated from India, so sometimes I get the feeling that they see India as their true home rather than the UK. The younger generation are born and brought up in the education systems here. Together with art organisations and the right support, an Indian Classical musician can achieve whatever they put their mind to.” Following his apprenticeship and training with gurus and ensembles in England, he is currently working in performance, composition and teaching work, and he is already making progress towards his ambition “to see Indian Classical music gain more understanding and appreciation in the UK”.
Milapfest first came across this young man when he became the first ever vocalist recruited to national youth orchestra Samyo. Developing both his singing and considerable sitar abilities, Jasdeep flourished into an integral and enthusiastic member of the orchestra, and he feels his time learning and developing with Milapfest has been fruitful. “It is because of the orchestra that I began playing the Sitar in the first place, to really benefit from the Summer
retreats and rehearsals. It was a real struggle at the beginning (to be playing alongside sitarists with years and years of training) but I enjoyed the challenge. I had mixed feelings, of frustration when I couldn’t technically produce the repertoire which the other sitarists found simple and easy, and then of triumph when I did.”
Jasdeep was also one of a generation of young musicians involved with Milapfest’s ensembles to really benefit from cross-cultural learning with ‘other Indian Classical forms’, in his case Carnatic music. Just as with his contemporaries, Raaheel Husain and Mithila Sarma to name just two, he developed an appreciation and understanding outside his own training. “It was through Samyo that I was first exposed to Carnatic music - a whole different ocean of knowledge. I think back to some of the Carnatic musicians that came to teach us - Ganesh and Kumaresh, Veena Jayanthi, Shashank Subramanyam, Patri Satish Kumar to name a few - we couldn’t have had better teachers - and what a way to be introduced to the art form! Even learning a basic Carnatic thillana from them has been hugely beneficial in my understanding of Indian Classical music.”
As one of only eight National Youth Music Organisations (NYMOs), Samyo often collaborated with fellow organisations, and Jasdeep benefited from joint performances and educational sessions with ensembles as diverse as the National Youth Orchestra of Great Britain and the Afghan National Music Institute from Kabul. This exposure, he says, gave him an insight into how to approach other types of music, a skill that he finds useful as he explores a career in professional music. Jasdeep names his performances at high profile
venues, his opportunity to network with classical organisations and international artists, and the lifelong friends he has made of like-minded individuals, as some of the unique benefits he has enjoyed during his relationship with Milapfest, first as an Orchestra member, and later, as a sitarist in the national ensemble Tarang.
Jasdeep was first attracted to music, and the tabla in particular, through his exposure to Gurbani Kirtan (Singing from the Sikh Holy Book) in his local Gurdwara. “I stumbled on Indian Classical music by accident. My primary school was running Tabla and Harmonium lessons - I initially signed up for the Tabla class but the school put me in the harmonium class where I learnt very basic Indian songs under the guidance of Gunwant Kaur.” After going to classes at the local Gurdwara, he met Gunwant Kaur’s husband, sitarist Dharambir Singh, who, at that time, was music director of Samyo & Tarang and a prominent UK teacher based in Leeds. “My biggest influence has been my teacher Ustad Dharambir Singh MBE. Dharambirji has always pointed me in all the right directions, as he has done with many of his students. However, I have had help and support from many other individuals within arts organisations like Milapfest and SAA-uk.”
Jasdeep has found success in high profile projects in England, including performing for ‘Goldie’s Band’, a collective of young upcoming artists in Britain, and has recently been awarded a Sky Arts Academy Scholarship to work on a debut album of contemporary music.
Name
Jasdeep Singh Degun
Instrument/Style
Sitar
Gurus
Ustad Dharambir Singh MBE.
Biggest influence of your music
There are so many different influences - When it comes to classical music: there Ustad Vilayat Khan, Shahid Parvez, Shujaat Khan, and Kaushiki Chakrabarty. For Indian Classical based contemporary music: there’s Niladri Kumar, Talvin Singh, Nitin Sawhney. On music in general my biggest influence, and one that has had the most impact, has to be Ustad Dharambir Singh.
How did your Milapfest Journey start?
My teacher, Dharambirji, was the first Artistic Director of Samyo - so I had known about that from a very young age.
If I could make my artistic dream come true, I would... Be performing and learning music for the rest of my life.
Favourite artist
Fela Kuti.
Like many young Sikhs, Jasprit began her musical journey accompanying Gurbani Kirtan at her local Gurdwara, where traditionally, youngsters are surrounded by music and encouraged to learn to sing and play. As she patiently waited for the right time to join Samyo, Jasprit attended Milapfest concerts and imagined herself on stage, performing alongside Samyo and Tarang in the future. We at Milapfest recall an excellent Tabla audition in Liverpool and the modest, slightly reserved Tabla player who then joined the maledominated percussion team later in the Summer of 2012. Since then, her hard work and passion has brought her to the forefront of percussionists in Milapfest’s ensembles, and her
remarkable rise to the Tarang ensemble was complete when she was awarded the ‘Musician of the Year’ accolade in 2016. Her transformational years across Milapfest’s three ensembles have been largely due to her ability to value and make the most of the opportunities that have come her way, while staying grounded and sincere to her art form.
“Without music my life would be without colour. Words cannot do justice to the effect music has had on my life,” she says, thinking about how music has influenced her life. “To me, music is more than just expressing yourself, it is a way of connecting with your inner self and also to God. Tabla has helped me to grow as a human being, and has provided a grounding for my desire to learn about life, people and experiences.”
It is her growth in confidence, maturity and skill which people around her have noticed the most. Whether in the challenges that she has overcome, first as a member of a percussion ensemble in Samyo, which was a tightly-knit and long-established team, or later as an Orchestra Leader in Samyo, Jasprit has confidently approached the challenges that have come before her. The first Samyo Vocal Ensemble, which would later become known as the Sabrang National Choir, had its first long-term accompanist in Jasprit, and performing as the only instrumentalist for the choir was a new experience for her. Her quick ascent to the only Tabla player in Tarang, performing music that was both innovative and difficult has further established her as a dependable, dedicated and talented artist.
Jasprit credits her mother, who introduced her to Gurbani Kirtan, and her Guru, Sukhdeep Singh Dhanjal, as early influences in her musical life.
Along with their continued inspiration and guidance, her later development in performance and ensemble playing was coached by the visiting and resident tutors she came across at Milapfest.
“Kousic ji (Kousic Sen) has also been a great inspiration in my journey in music, from pushing me out of my comfort zone, to helping me grow through our conversations and his stories of past experiences. Patri
Satish Kumar is similarly an inspiration to my development. The talks he has given on music and life in general have heightened my passion for Tabla and affected the way I go about my riyaaz.”
Just as in any male dominated profession, Jasprit battled against norms and expectations during her early experiences with Indian music: “I could never really explain why I always took an interest in the percussive instruments over the vocal and instrumental. Though I used to attend vocal classes at the temple, as this was the norm for girls, my joy would come from watching the Tabla class and listening to the all the boys play. Taking music lessons in Violin, Piano and English music theory made me realise that the Tabla was in fact the instrument for me, and nothing would come close to this form of expression.”
From her early days in the orchestras, in which it seems her talent was overshadowed by her own selfeffacement, shyness gave way to her determination to succeed and her inner resolve formed in her childhood is helping her face musical tests in her youth. Today, Jasprit is determined to help in “breaking the barriers for girls wanting to pursue their ambitions in a male dominated industry.” She continues, “not being allowed to play Tabla for many
years and being strongly discouraged by multiple teachers played a huge part in my childhood. Changing the perception and expectations of women on a mainstream level is definitely one of the dreams for my art.”
It would be unfair to limit Jasprit’s musical career to the possible limitations her gender may impose on the expectations of others, and she agrees that “it is also important to me not just to be good ‘for a girl’”. However, her attitude to life and the work she has put in as a musician have put her in an excellent position to develop even further in the future. “The musicians that I have the privilege to work with are more than just friends, they are my talented, crazy, inspiring, supportive, annoying and wonderful music family. Milapfest also has given us amazing mentors and opportunities to connect and learn not just musically but philosophically from great artists.”
In recent years, Jasprit has performed with Milapfest’s ensembles at The Royal Albert Hall, Southbank Centre, Indika Festival in Liverpool, and in collaboration with other ensembles like Tomorrow’s Warriors. They are experiences that have given her a taste of life as a professional player, and she now dares to dream of her future ambitions: “It is my ambition to master the Tabla, my goal is to learn and keep learning and developing in this art from for the rest of my life. To become a professional musician would be an honour, but first and of most importance to me is perfecting the skill. In the future, I hope to become a respected musician recognised not only in the UK and but also in India”.
Name Jasprit Kaur Rajbans
Instrument/Style
Tabla / Hindustani
Gurus
Shri Sukhdeep Singh Dhanjal
Biggest influence of your music
My Guru ji who continually inspires me in every meeting and lesson (and without whom, I would not be the person I am today); Kousic Sen; Patri Satish Kumar.
How did your Milapfest Journey start?
In 2013, at a Samyo Audition.
If I could make my artistic dream come true, I would...
Perform regularly at respected venues such as the Barbican Centre and the Royal Festival Hall alongside respected musicians, such as Surdarshan Chana, Purbayan Chatterjee, Debopriya Chatterjee to name a few!
Favourite artist
Pandit Anokelal Mishra, Pandit Yogesh Samsi, Ustad Zakir Hussain, Pandit Kumar Bose, Ustad Allah Rakha Khan, Ustad Vilayat Khan, Ustad Shahed Parvez, Pandit Hariprasad
To master the Tabla, to learn and keep learning and developing in this art form for the rest of my life.
JessiCA mistrY
“Igrew up in a family where listening to music was something you did regularly, although no one in my family played an instrument – I was lucky to be the first. “SOMEWHERE OVER THE RAINBOW” was a song frequently heard around the house and as a nursery child I sang this little song as I would swing while admiring my mother’s smile. I used to pretend the birds were my audience and I was little Dorothy blooming in the magical land of Oz.”
Today, even in the serious business of album and video recordings, and high pressure deadlines, Jessica still brings the same enthusiasm and playfulness to her music, thinking of the happiness and joy it brings herself and her listeners. As a youngster getting to know Hindustani music, she came to know the music of Hariprasad Chaurasia, a master flautist she looks up to and considers her ‘Guruji’ today. Her discovery of the school of music at the Bharatiya Vidya Bhavan in London formed her earliest influences in music, and there, she says she “began to believe that the flute could produce anything that the voice could”.
During her early years as a young student, Jessica quickly auditioned and joined Samyo, and performed and trained over a number of years, most notably with flautists Shashank Subramaniam and Rakesh Chaurasia. “Since the age of 10, I have seen Tarang members from rehearsing to performing live and I have always hoped for myself to one day follow those steps. I have always seen Tarang to be a professional orchestra, inspiring me to do this as I have seen other Hindustani member such as Raaheel, Jasdeep and Rishii, take their way on from being in Samyo to continuing their journey into Tarang.”
Today, as one of the band of musicians taking Tarang’s new musical ideas forward, she is in a position to fulfil one of her early ambitions: “I hope one day the younger generation can look up to me and see my journey through their eyes and be inspired to do the same.”
Jessica has spent most of her childhood and youth as part of Milapfest’s ensembles, growing and learning with fellow musicians, and with the organisation itself. She has been in an ideal position to take the opportunities that have come her way, and she has always done so with grace, good humour and a great deal of dedication. Although she rates them as the biggest influences in her musical life, Milapfest team members, in return, have always felt rewarded and satisfied to help such a willing student. “I have always considered myself to be a fortunate member of Milapfest. Throughout all these years my talent has grown through the help of the Gurus and conductors provided by Milapfest. When I started at the age of eleven, I had no idea that Milapfest would be a huge part of my life, and throughout my journey with them, I have been respected with tons of love and encouragement. The team have given me the opportunity and faith that I need in order to progress with my ambition. They are the backbone of what any young musician would dream of.”
She has wholeheartedly taken every chance of improvement, inspiration and development that has been presented to her, including the collaborations with the National Youth Jazz Collective, Afghan National Institute of Music and her performances in London’s Southbank Centre, and she has found them to be excellent preparation for her dream to tour around the world and build a Gurukul in
which she too can teach and inspire others. “I believe any musician can progress in music in hundreds of ways. Collaborating, improvising, composing, simply practicing, it’s all a stage of trying and achieving. I personally would like to progress by being part of unique groups such as Tarang.” Although it seems a long path towards these goals, Jessica is positive about the future and the challenge that it may bring. More importantly, perhaps, she acknowledges the significant impact of music on her life today: “Music is very important to me, and I would not be the person I am today without it. It has helped me to face stress and problems with a calm and open mind. The flute is a relaxing instrument that helps you mentally, through meditation.” To her friends and colleagues, Jessica is in many ways still the young girl that would imagine herself as Dorothy, dancing and singing to the birds, but her approach to, and respect for, music reflects a much deeper sensibility and understanding of the power of music: “From a young age, I began to see that many people live and breathe through music; others earn money from it, but most of us relax by listening to it. I began to realise how our musical preferences reflect our image in society, influence our mood, make us more courageous and cheerful, or even, on the contrary, sadder and more depressed. Music has influenced my health and my nature; I choose the rhythm of my music according to my heart rate, my sense of calm or my need for energy, and therefore whatever I play or listen to has a profound effect on my sense of wellbeing.”
Name
Jessica Mistry
Instrument/Style
Hindustani Flute/Bansuri
Gurus
Pandit Hariprasad Chaurasia.
Biggest influence of your music
Pandit Hariprasad Chaurasia, along with Rakesh Chaurasia.
How did your Milapfest Journey start?
At the age of 11, with Samyo.
If I could make my artistic dream come true, I would... Love to build my own Gurukul and follow the footsteps of my Guru.
Favourite artist
A.R. Rahman.
KiruthiKA nAdArAJAh
Kiruthika was first introduced to Milapfest as a member of Samyo, the National Youth Orchestra. She would later play an integral part of this group by advancing to the role of Orchestra Leader. Her calm, confident approach, positive demeanour, and excellent technique, is indicative of the teaching of her first Guru, Kalaivani Indrakumar. Kiruthika’s development as a performer has been shaped by her years spent in association with Milapfest as she grew with the Samyo and Tarang ensembles and experienced some of our most memorable events with them. Today, alongside her work as a Management Consultant, Kiruthika describes herself as a “semi-professional” artist as she is busy with a wide variety of performances, ranging from charity events to international festivals, both as a solo and accompanying artist.
Yet it is her maturity and straightforward approach that mark her out for success in the future, which was reflected first in the way she took up the violin: “I started learning Carnatic violin because both my parents were keen for me to learn Indian Classical music to stay connected to our culture. It was also my dad’s favourite instrument, and I thought it was ‘cool’ so I was happy to go along to lessons!”
The need to stay grounded and rooted in their ethnic background is a common theme amongst many first generation South Asians, and the arts are a particularly prevalent way of doing so.
Like many others,Kiruthika first experienced music through her parents’ Tamil music recordings which they played to her on long car journeys. “The biggest influences in my career are my parents and my gurus. My parents have always encouraged me and it is their constant
support that has given me the strength to pursue music seriously. My gurus, in addition to practically teaching me all I know, have helped shape the way I think about music and my relationship with the art Form”.
At Milapfest, we recall Kiruthika’s quiet leadership, in which her calm, smiling approach helped to unite musicians of both Hindustani and Carnatic backgrounds, which was particularly important in an environment where members were learning difficult and original compositions and being trained by maestros known throughout the world of Indian Music. Whether for a performance in the forecourt of Buckingham Palace for the celebration of the Commonwealth Games in Delhi, or an interview and live performance on BBC Radio, Kiruthika has taken opportunities in her stride and tends to respond with grace and good humour, and she puts this down to the role music has played in her life: “I think it is fair to say that music is a part of my identity and defines a big element of who I am; I am fortunate to be able to find a ‘home’ in this music, wherever I am in the world. Besides this, all the lessons, practice sessions, rehearsals and performances over the years have given me some of the best experiences of my life so far!” It is the image of her taking centre stage as an 18 year old orchestra leader, guiding a 12 year old new violinist on stage at the Queen Elizabeth Hall, which best symbolises her approach to leadership, as she encouraged and coaxed excellent performances out of her colleagues, a skill she continued to display as an integral member of the Tarang Ensemble, during touring and festival performances over the next few years.
Kiruthika’s character, above all, has helped to develop her ‘music personality’
which has helped to take on the many opportunities that have come her way via Milapfest, including, for instance, the teaching of violin maestro H N Bhaskar, whom she names as her guru today and whom she regularly visits in India for training. “My whole experience with Milapfest is such a special one that isn’t available elsewhere - from living, eating, breathing and making music with other music students my age, learning from and interacting with great musicians and stars on a first name basis (with respect, of course!), to receiving performance opportunities in the greatest venues across the country. These unique experiences and amazing opportunities have shaped who I am as a musician and a person to the extent where I can’t imagine what my life would be like now if Milapfest had not been a part it! For that, I am extremely grateful.”
Although Kiruthika seems to move effortlessly between her musical, and non-musical worlds, she retains a keen interest in both her own development and the future of Indian Classical Music in Britain, and hopes that she can continue to apply the dedication and discipline she has cultivated in her musical endeavours to other areas of her life. “My music development will always be a never-ending journey in pursuit of excellence. I would like this to inspire younger British musicians and prove that it is possible for a Carnatic musician born in England to be of a high standard. I believe a lot of great work is being done in the Indian arts sector in England – my only wish is that all young students are aware and can have the opportunity to benefit from them the way I have been fortunate enough to.”
Name
Kiruthika Nadarajah
Instrument/Style
Carnatic Violin
Gurus
Smt. Kalaivani Indrakumar, M. Nandini & H.N. Bhaskar.
Biggest influence of your music
The music of my gurus.
How did your Milapfest Journey start?
I joined Samyo when I was 14.
If I could make my artistic dream come true, I would...
Be performing with the top Carnatic musicians of our generation.
Favourite artist
Tanjore S. Kalyanaraman and Nitin Sawhney (to pick two out of hundreds!)
Favourite artist
To continue with the never-ending pursuit of excellence!
mithil A sArmA
In stories of ‘model progression routes’ through Milapfest’s ensembles and programmes, we often imagine how that journey might end, and whether our young artists will go on to be teachers, performers or a mixture of both. However, with increasing opportunities in both Milapfest and other areas of the Indian arts sector, arts management or production are increasingly realistic aspirations for young musicians. In many ways, Milthila’s journey is one of a kind, and her progression from young veena student, to an aspiring producer and arts professional is a testament to her interest in, and dedication to, Carnatic music and Indian classical arts in general. Over the years, Mithila has performed as a veena player and leader in both Samyo and Tarang, and as a soloist in Milapfest concerts. During her twelve year relationship with Milapfest, we have witnessed first-hand her development into an excellent performer and ambitious music professional.
Milthila credits her mother for her early interest in music; herself an avid music listener, she took Mithila to various lessons, from which she chose veena as her specialist subject. “My earliest memory of music is my first violin lesson, where my mum had to lie about my age so that the teacher would allow me to start! I can remember learning different songs. Later, learning the veena from such a supportive and encouraging guru, Malini Thanabalasingham, is something that has changed my life. Had it not been for her, I would not be pursuing music the way I am today, and it is the biggest influence in my music career. The second biggest influence is joining Samyo at the age of 13, as this is where I was able to expand my knowledge outside Carnatic music”.
In the intense atmosphere of ensemble music making, an environment which is as innovative as it is challenging (Milapfest’s ensembles’ music is largely original and features new arrangements), Mithila flourished as a team player, leader and symbol of the new generation of HindustaniCarnatic ‘hybrid’ musician, comfortable in learning and performing whatever new music was presented to her. Indeed, when she first joined the orchestra, she remembers the initial challenges that came her way: “I learnt of many things I had no idea of beforehand. I did not know what Hindustani music was, so many new instruments, ragas and time cycles were introduced to me and just learning of new approaches to Indian Classical music itself was something that I was continuously learning.” In addition to this, Mithila found opportunities that she had not been previously afforded: “With Samyo I had an opportunity to perform across many stages with a group of young people from diverse backgrounds who travel through the same journey as you. We also had the chance to meet artists from India who you would never otherwise meet.”
Mithila’s first involvement with Milapfest came with her Samyo audition and her early work as a 13 year old, performances that took her from Southbank Centre to Scotland, and over the course of her Samyo and Tarang career, went on to include The Sage, Gateshead, Bridgewater Hall, Manchester, and even Buckingham Palace, to just name a few. Her easygoing commitment and positive attitude has always helped her approach the challenges of touring performances. It has helped her to quickly become a role model for younger members, who saw
in her an example of the progress that could be made in Britain, and Mithila is often asked to speak at Milapfest training events to help tell the story of career progression in Indian Classical Music. Today, in her work in the arts, she has taken on new experiences in concert presentation and production, and also composes and performs in the Project12 ensemble, with many of her ex-Samyo and ex-Tarang colleagues.
Throughout everything, her goal remains to improve as an artist, but her open minded approach and career moves have helped to think more about the Indian arts sector in general: “The biggest success is that there are so many arts organisations supporting and facilitating the growth of Indian Classical music. The number of interesting collaborations that have taken place is exciting to see and I hope that this continues to grow. The biggest challenge/gap is probably there aren’t enough young people pursuing music as a full time career and perhaps this is due to needing more opportunities for young people to progress and take a career in music seriously.”
Name Mithila Sarma
Instrument/Style Veena/Carnatic
Gurus
Malini Thanabalasingham.
How did your Milapfest Journey start? Samyo, 2003.
If I could make my artistic dream come true, I would... Tour across the world.
Favourite artist
Bombay Jayashri, Veena Jayanthi, Nitin Sawhney.
Ambition
To be involved in the arts always.
mithushAn siVAGurunAthAr
Mithushan’s musical story began when he took on the challenge of Carnatic music to help relax from the pressures of school and he admits that, at first, he was forced to go to lessons for mridangam and singing. “I chose to pursue mridangam passionately because of the pure enthusiasm with which my guru, Sri M Balachandar, would teach me. His teaching style and the never ending possibilities of percussive rhythms also inspired me to pick up the ghatam and morsing, which I hope to specialize in over the coming years under the guidance of Giridhar Udupa.” His enthusiasm, effervescence and
commitment to music shine through in his rehearsals and interactions with fellow artists and the tutors he works with. This, along with the speed of his progress, makes you think that his ambitions will really be fulfilled. “My biggest dream is to continue the great work of the Vidwans in ghatam and morsing and I will attempt to get these instruments more recognized globally just as everyone knows what a sitar is and what a tabla is.”
It is, in fact, heart-warming and encouraging that young musicians like Mithushan can worry more about the future of Carnatic music than even their own careers, and he already serves as a role model for other young people around him: “My biggest dream though is to ensure that the stigma attached to instrumentalists in Indian classical music should be eliminated. Many people believe that there is no future or career path possible if you are an instrumentalist and it is a challenge I’m sure that many musicians face when growing up in the arts”. As one of the leading lights in the development of Samyo and Tarang’s new composition work, Mithushan demonstrates a commitment to new challenges and he is a loyal supporter of team members and Milapfest in general. He is currently planning to take advanced training in Ghatam and Morsing, while developing as a recording artist too.
Mithushan became involved with Milapfest’s Ensembles when he auditioned for a place in Samyo, during auditions held for students of the Bharatiya Vidya Bhavan in London. He names participation in learning and performing with Milapfest as one of the biggest challenges he has had to face in a musical capacity, and he was pleasantly
surprised by the coming together of so many Carnatic and Hindustani musicians for performances, as well as the programme of compositions they performed. His initial nervousness was replaced with a growing confidence and a closeness with his fellow percussionists, a strong bond of friendship he holds onto even today as a member of Tarang. “I think the consistent exposure to senior musicians, among fellow orchestra members and the gurus in charge, inspired me to improve so that I didn’t let the orchestra down. That work ethic in music is something I developed through Milapfest and is something I haven’t let go of since”. Mithushan feels that his experiences with Milapfest has given him opportunities he could not get anywhere else: “ I don’t think there are many other musicians at my age who have been exposed to so many gurus, such as Patri Satish Kumar, Jayanthi Kumaresh and many more, in a learning environment. Not only are the gurus pushing you to your limit but there is an incredibly positive atmosphere within Milapfest and the various groups which ensures everyone is pursuing the same goal as well their individual development. Milapfest has the ‘wow factor’ which I have not seen anywhere else.”
Mithushan’s earliest memories in music have also inspired him to have a determination which stays with him today, and he recalls how, in his first lesson, aged seven, he could not even produce a sound on the mridangam and his interest in percussion was tainted by this ‘failure’. However, a desire to produce the beautiful sounds he had heard in the live performances of his guru and others encouraged him to persevere. Our own experiences in working with Mithushan have been defined by his positive energy, and, as Gaurav Mazumdar puts it, ‘his
mischievous smile, humour, presence and dynamism’, all of which contributed sparkle to long rehearsals and teaching sessions. This attitude seems to have solid foundations too: “Some of my biggest influences so far have always come from live performances. The first was from my guru. I had never seen him perform, but had always known him as a lively and positive teacher but when I finally saw him perform for the first time, I had never seen someone smile as much as him on stage or play with the happiness he does. The energy he brought to his performances is something I always try and replicate. Likewise, Giridhar Udupa has been one of my biggest influences as a live musician due to his immense creativity and musical knowledge.”
Mithushan continues to be inspired by people around him, including the excellent close friendships he has made with comembers of Samyo and Tarang, and the respect and admiration he has for their talent and skills. He also credits music for some of the best moments in, and most valuable improvements to, his life. “Music has helped me tremendously so far. I think there is a level of maturity required to follow your ambitions in music properly and, in that sense, I feel pursuing my passion has really helped me mature a lot quicker than I normally would have. Believe it or not, there was also a very positive correlation between my practice time and my performance during school for exams and so on because I genuinely feel that you become more alert the more you practice. Furthermore, music has always been my escape, so whenever something gets a little too much, all I need to do is lock myself in my room, sit down, and practice the basics over and over again.”
Name Mithushan Sivagurunathar
Instrument/Style Morsing/Ghatam/Mridangam
Gurus
Sri M. Balachandar and Ghatam Giridhar Udupa.
Biggest influence of your music Tarang and musicians therein.
How did your Milapfest Journey start? Audition in 2011.
If I could make my artistic dream come true, I would... Play a ghatam duet with Giridhar Udupa at the Royal Albert Hall and a world tour with the current Tarang.
Favourite artist
Patri Satish Kumar, Giridhar Udupa, Ganesh and Kumaresh.
Ambition
Become an established recording artist and touring musician. In the process I hope to popularize Indian classical music.
PirAshAnnA
Within the large and diverse community of Indian musicians in Britain, Pirashanna stands out as one of the artists who has begun to reach the heights of professional ambition, and is arguably, in a position many younger musicians aspire to. This is due, in part, to the high profile opportunities he gained performing with Pandit Ravi Shankar, and, later, Anoushka Shankar, in concerts and recordings. Coupled with his ability to combine talent with hard work and excellent performances, he singles out his experience with the legendary sitarist as one of the highlights of his career, “the biggest influence and the person who literally turned my life around was Pt. Ravi Shankar. I had the opportunity of working with him in 2002 for the Concert for George and again in 2003 at the Dartington College of Music. In 2005, he asked me to join his orchestra, Festival of India, which toured the whole of America. It was during this time that I got a real taste of touring and being a full time musician. Since then there was no looking back; it was he who told me to take up music full time!” The Shankars’ preference to include the mridangam in concerts has helped to take him around the world in his performance career and supports his ambition “to make the mridangam as popular as the tabla, by collaborating more, performing to a wider audience and conducting workshops”. Pirashanna also wants to take this further, and in a reference perhaps to the collective fate of percussionists, he would like to explore composition, partly through furthering his knowledge of, and becoming familiar with, other styles of music,. He wants to be “known as a musician and not just as a percussionist”.
In recent times, Pirashanna has completed the journey from young Samyo member
to tutor and role model. He was invited back as an Assistant Tutor at the Music India Summer School, coaching young percussionists of Samyo and Tarang. However, it was not only his musical skill but his life experience that the students were most eager to hear about and his story helped to offer guidance and inspiration to people who might wish to follow a similar path in the future. Indeed, Pirashanna is mindful of what is to come. While it may be a positive that increasing numbers of people are turning their love of music and dance into a career rather than just a hobby, there are other fissures and challenges that Pirashanna identifies and he wants to contribute to helping others to overcome them: “I want to help young musicians get exposure and opportunities to perform, by organising concerts and festivals for them, helping them to get in touch with other organisations and artists they might like to approach”.
Naturally, music has played a significant role in his early life: “Music has helped me tremendously. Socially, almost all my friends are either musicians or people whom I have met through music. Patience is something that I have learnt a lot through music, be it through practising, travelling or working with new people from different cultures. I feel I have become a very open minded person, all thanks to music. To be a good musician today, you need to be open to collaborations, learning to adapt/play new styles, and this is something I have been encouraged to do from a very young age. Also, music has allowed me to travel extensively. Travelling has really taught me a lot of life lessons.”
In common with many young South Asians, music classes were encouraged as a way of keeping in touch with his culture and heritage. Pirashanna
admits that starting music wasn’t his own choice. He remembers, from a very young age, frequently hearing old Tamil film songs, bhakti (devotional) songs and Carnatic music. His move to learn mridangam at the Bharatiya Vidya Bhavan in London was an early influence on his career, “as it not only allowed me to learn my art form, the Mridangam, but also hear and interact and work with other styles of music, mainly Hindustani, which brought about my interest and understanding of Jugalbandis.” Pirashanna also remembers the role that Milapfest and Samyo played in his life: “Playing in Samyo was another big influence as it was a great learning opportunity for me, allowing me to develop my skills as a musician, work in large groups and it gave me further understanding of Hindustani music. I was first recognized by Milapfest when they saw me perform with Samyo. I met Prashant ji (Milapfest’s Executive Director, Prashant Nayak) almost 10 years ago during the first Sangeet Sabha Indian music conference and he has been very encouraging and always been willing to support my musical journey. Since then, I have performed in a few concerts in the Music for the Mind and Soul series and I have also had the privilege of assisting percussion tutors for the Summer School in 2014. I have had a number of performance opportunities with Milapfest. I think they are one of the few organisations who are genuinely interested in encouraging and supporting young, especially British Asian musicians.”
Name Pirashanna Thevarajah
Instrument/Style
Carnatic Percussion
Gurus
M. Balachandar.
Biggest influence of your music
Ravi Shankar, Vikku Vinayakram, Zakir Hussain, Shakti, Patri Satish Kumar, Harishankar.
How did your Milapfest Journey start? Sangeet Sabha Music Conference in 2002, at the Bridgewater Hall.
If I could make my artistic dream come true, I would... Have a perfect balance between composing, working in the studio for projects/albums and films, and performing/touring.
Favourite artist
Ravi Shankar, Vikku Vinayakram, Zakir Hussain, Shakti, Patri Satish Kumar, L Shankar, Umayalpuram Sivaraman, Trichy Sankaran, Harishankar, Bombay Jayashri, Tanjore S Kalyanaraman, Nitin Sawhney, Akram Khan (dancer), Mandolin Shrinivas, Rashid Khan, Abhishek Raghuram, Nusrat Fateh Ali Khan, AR Rahman, Illayaraja, Shankar Mahadevan, James Brown, Dennis Chambers, Steve Gadd… too many to mention.
Ambition
To make the mridangam as popular as the tabla. Be known as a musician and not just a percussionist. Help young musicians get exposure, and opportunities to perform. Curate concerts/festivals.
rAAheel husAin
It’s hard to think of Raaheel Husain without picturing his calm, soothing presence and warm friendly smile, qualities he brings to the stage in each of his performances and to the classroom or rehearsal room in his musical assignments. It is an impression that was also left upon Gaurav Mazumdar, who first came across the young student in 1996. Later, in his capacity as Samyo’s Principal Conductor, in common with others in the Milapfest team, Mazumdar found him to be humble and polite and he recognised how over the years he developed into ‘a very fine musician who sings and plays beautifully.’ Yet it may be his personal qualities, more than his musical talents, which are helping him achieve one of his ambitions of encouraging other young people, now and in the future, to be inspired to take up Indian Classical Music.
“I really hope that future generations are encouraged to take up music and that they are given the provisions to learn to enjoy the arts, and that we continue to see opportunities for musicians who are born and raised in this country, and that audiences continue supporting them through their journeys”, says Raaheel, in
thoughts that reflect his own experience of the provisions and opportunities available in Britain. Raaheel’s first interaction with Milapfest came from his audition for the National Youth Orchestra, Samyo, in which, years later, he would eventually progress to become Orchestra Leader. “After hearing them play, I was even more keen to become a part of this fantastic concept and it was without a doubt one of the best things I’ve ever been involved in.” Later, Raaheel would audition for Tarang, the ensemble for young adults and emerging artists in Indian Classical Music, before swiftly becoming Ensemble Leader during his final years with the group before he moved on to pursue other personal goals in his musical career.
Over his years in Samyo and Tarang, not only did Raaheel grow into a young gentleman-musician, but there was a rapid development of his musical tastes, experiences and talents. One of the crucial aspects of Milapfest’s ensembles is to provide their members with the opportunity to develop skills beyond their core musical training. In the case of Raaheel’s sitar playing, he developed a deeper interest in Carnatic music, building on the early inspiration he gained from listening to concerts and recordings of the late Mandolin maestro U Srinivas.
“My experience with Milapfest has been an amazing, exciting, and inspiring time. Milapfest played a pivotal role in me continuing music when I was younger, and it was because of Milapfest that I really took music outside of the classroom, giving it time and space within my own life and routine.”
It is outside the classroom, and on the stage, where the growth of the musician could really be witnessed,
and the challenges that were thrown at him were handled with excitement, ease and passion, whether it was accompanying Pandit Birju Maharaj at the Indika Festival, the solo and duet performances at an exhibition opening at Tate Liverpool or his guest appearance with pianist Anil Srinivasan, Raheel has taken them all in his stride. He is an artist who is also in touch with the benefits that music brings to him personally: “First of all, I absolutely love performing and would like to continue to do so! Whilst I work in market research and advertising as a profession, I am trying to maintain a balance with music and make time for practice as well as performances when they arise. Music has taught me how to learn effectively, how to memorize as well as improvise, how to manage others, how to enjoy my own company, how to present to others, how to be humble and how to be creative within structured environments. And the amazing thing is that none of these aspects remain only within the remits of music. They spread out into social life, family life, interviews, the work place, time management and exams.”
Central to his success has been the support of his family, and all of them have been long-term attendees and supporters from his early days as a member of the orchestra, to his most recent assignment as Associate Conductor of Samyo, in which he mentored and led the young musicians in their showcase performances. His attitude and grounded approach put him in the ideal position to take on this leadership role that brought his association with Milapfest full circle: “The most striking thing that Milapfest gave me was a sense of family and community. And whilst those things existed for me outside of Milapfest,
it was never in a musical or classical setting, and nor was it with people my own age.”
Recently, following his stint as Ensemble Leader of Tarang, Raaheel has also developed his composition and singing skills through the band Project12, which features a number of musicians who are close friends or alumni of Milapfest’s ensembles. He hopes to take his singing in new directions as well as work on collaborative projects ‘within’ Indian music in the future: “I think whenever we think of fusion we think of mixing east with west, but I think when two Indian musicians sit down and plan a concert, that is equally fusion, and it would be great to see more of it!”
Surrounded by music at home, and fortunate to witness classical concerts by many of the greats, Raaheel was inspired by Pandit Ravi Shankar and Ustad Shahid Parvez in his early years as a Sitar student. Though his ‘experiments’ in fusion, ensemble work and composition may appear to be departures from the norm, they are also integral and authentic characteristics of Indian classical music in the West. It is telling, then, that the challenge of developing a musical genre that is not traditionally at home in Britain, requires a dual identity, and a flexible approach: “I hope I can continue deepening my pursuit of learning Indian classical music. I have also been enjoying working on my own compositions and writing music and I hope to one day be able to create something with all of these thoughts and ideas! I will always be a classical musician at heart and would like to progress as a British born Indian classical musician.”
Name
Raaheel Husain
Instrument/Style
Sitar and Vocal
Gurus
Sri Vijay Jagtap, Sri Sanjay Guha, Ustad Shujaat Khan.
How did your Milapfest Journey start?
It began in Samyo. I then joined Tarang and led the ensemble for a number of years.
If I could make my artistic dream come true, I would... be performing and learning music for the rest of my life.
Favourite artist
Shujaat Khan, Sultan Khan, Ashwini Bhide, U Srinivas, Shahid Parvez, Rashid Khan, Veena Sahasrabuddhe, Ajoy and Kaushiki Chakraborty…the list is endless!
Ambition
To help continue the pure classical tradition of Indian music.
rAAm JeGAnAthAn
It is testament to the progress and development of Indian Classical Music in the West, that a young musician can confidently aspire to be a well-known ‘UK based’ Indian artist, with an ‘All India Radio’ grading as well as following in the footsteps of some of the world’s greatest musical ambassadors in changing and improving the nature and following of Indian classical Music. Raam is a musician with ambitions to match his passion and he wants to ensure that the Veena and Mridangam are as ubiquitous and linked with Indian culture as the Sitar and Tabla – there seems to be no reason why he will not rise to his own challenge and succeed in the high expectations he has for his career. Like many people of his age and talent, he is currently balancing ‘non-musical’ studies with an artistic career, one in which he is hoping to become a well-rounded musician with his own distinctive style of playing and a wide knowledge of ragas and compositions.
Milapfest’s relationship with Raam Jeganathan is characterised by the dedication and energy he brings to his musical projects. It was an unprecedented decision, only one year into his Samyo association, to appoint him as Orchestra Leader and, furthermore, that he continued in the role for two years. This was not just an honour and a symbolic position –Raam wanted to ensure that he was responsible for the ultimate success of the performances that he was asked to lead on stage. His presence inspired confidence and faith in those around him, including Samyo’s Principal Conductor, Gaurav Mazumdar: “Raam is a dedicated young man, and I saw him lately as my right hand. His great work as Orchestra Leader meant that he never, ever failed to deliver, inspire
and rise to an occasion. I felt that he developed both as a veena artist and a leader working under my tutelage”.
Raam acknowledges the role Milapfest has played on a number of levels in both his overall and musical development and he feels that the opportunity to interact with world renowned artists has been a great influence: “Watching them live in concert is one thing, but talking to them in person is another. It’s so surreal and teaches you far more than you would learn from watching them perform. [Being in Samyo and Tarang] has also given me a musical family I will forever treasure - it’s a wonderful feeling to be playing alongside your closest friends. Furthermore, it has enabled me to gain mentors, in particular Jayanthiji (Veenai Jayanthi).” He also credits these performance and learning opportunities as contributing to his exponential growth as an artist, “I never dreamt I would meet so many talented musicians at my age, perform at prestigious venues or improve at such a fast rate, despite having no teacher here in the UK!”
In a short space of time, Raam has contributed to the landmark 10th anniversary concerts and albums of Samyo, and the new ‘reboot’ of the Tarang ensemble. He has managed to do this whilst buying into the overall organisational ethic of uniting the team members around him and helping to create a positive atmosphere. All of this puts him in the best position to fulfil the lofty ambitions he has for himself and for the future of the Indian music sector: “I want the concept of Bhakthi (devotion) to come back to Carnatic Music. Also, Britain should be the biggest hub for Indian Classical Music outside India, with far more Indian artists touring and teaching here. I think the successes have
been demonstrated in the way world class artists are being brought here and are happy to teach here.”
Dedication, passion, commitment and devotion are words that sit comfortably on a description of Raam Jeganathan, and are characteristics shaped not only by his Milapfest experiences, but also by his early life:”My mum has been a huge influence. It was her relentless passion for Carnatic Music which sparked an initial interest. She has constantly guided me since I stopped taking one to one lessons at the age of 11-12. Additionally, my second Guru, Sri V.Chandrashekhar, deserves immense credit for making me enjoy practicing and love music. A significant influence has been Dr Jayanthi Kumaresh. Jayanthiji has inspired me, and most importantly, made me fall in love with the Veena. I will forever remain a crazy little fanboy over her playing.”
Name
Raam Jeganathan
Instrument/Style
Saraswati Veena/Carnatic Music.
Gurus
Dr Jayanthi Kumaresh, Dr Shobana Swaminathan.
Biggest influence of your music
My Mum/Dr Jayanthi Kumaresh.
How did your Milapfest Journey start?
At a Samyo Audition, March 2012.
If I could make my artistic dream come true, I would...
Perform alongside Dr Jayanthi Kumaresh & Anoushka Shankar at a world renowned venue.
Favourite artist
Dr Jayanthi Kumaresh.
Ambition
Become a leading All India Radio Graded UK based artist & a well-regarded name in the Chennai music scene, performing widely.
For many Indian musicians today, life is a balance of the pursuit of artistic dreams on the one hand, and the need to sustain a living on the other. For Rishii, a talented tabla player who has already established his own following as a performer and teacher, his alter ego is a lawyer, and he exchanges his dazzling Assamese style at weekends and evenings for a smart suit and tie during weekdays. However, Rishii is relaxed about how he balances two careers, law and music, and whether this defines him as an amateur or professional musician: “I work at a law firm that is very supportive of my music career and ambitions.The term ‘professional’ for Indian musicians has a very different meaning; this is seen as more of a Western concept. For Indian musicians, we are always striving for excellence and this pursuit will continue for many years and lifetimes. Even the masters in my art form such as Ustad Zakir Hussain and Pandit Anindo Chatterjee still say they are learning.”
While there is a lot he wants to achieve personally, Rishii also wants to support other musicians and emerging artists. In this endeavour, he has defied the odds and the traditional expectations that young people cannot be ‘gurus’, by setting up ‘YoTabla’ (Yoga & Tabla), a holistic approach to learning the instrument: “The tabla is seen as a physically demanding instrument so to assist with this, students learn basic yoga, breathing and meditation techniques, to ensure a good and relaxed posture whilst playing the tabla. This not only helps with playing, but also increases the overall physical and emotional wellbeing of the learners.” Already he dreams of setting up a teaching academy with its own premises that profiles all year round training, inviting the best tabla
players from around the world to run retreats and workshops.
Rishii was influenced by his mother, an All India Radio Artist in Assam, and was immersed in music during his childhood. Wanting to keep their Assamese heritage alive, music played a big role in his family, and his parents have been his biggest musical influence. In one early concert, Rishii has been told how he was sat in the front row, pretending to play tabla along with Qawalli legend Nusrat Fateh Ali Khan! His family also performed in many Assamese community events, and in this way, ensemble playing has been ingrained in his music, and he moved from singing to percussion and, finally, tabla. Perhaps, inevitably, Ustad Zakir Hussain is a great inspiration to Rishii, and he has attended summer schools and classes in the USA, in which he was encouraged to be more open minded in his approach. Being a musician in England, in particular, has influenced him greatly: “There is a plethora of music that we have also been influenced by, such as pop, rap, jazz, reggae, dubstep, RnB, Hip-hop, Western Classical and many other world music genres. Collaborating with these styles of music has allowed me to bring some of those influences into my style of playing.” In addition, Rishii has experienced some major personal benefits too. “Indian classical music teaches us the values of discipline, respect and hard work which I have transferred into other areas of my life. I have developed the confidence to articulate myself and tap into my creative side. Opening the creative faculty in our minds gives us a richer and fuller life, and that is what music has given me. There is a lot of research that has gone into the science of music and its healing qualities. Sometimes just playing one note on my tabla eases any discomfort I may be feeling on a particular day.”
Rishii auditioned to join Tarang in 2011 on the recommendation of Dharambir Singh, having been attracted to the concept of bringing together an ensemble of British born Indian classical musicians. Performing with like-minded individuals and high quality performers has opened up new avenues of work and inspiration for him. He gained confidence in performing and experience of Carnatic music, and some standout memories are with Tarang and in his appearances accompanying Ranajit Sengupta and Rakesh Chaurasia. In addition to his touring concerts, Rishii participated in ‘outreach’ projects at the World Museum Liverpool and for schools at Resonate Liverpool.
“Playing as part of an ensemble with UK based musicians is wonderful in itself. Along with the ongoing training and retreats throughout the year, it is like being part of an extended family. The quality of the tutors that come to Music India is exceptional as they are very generous in sharing their vast knowledge and experience. As a musician, you want to be around, and perform with, excellent musicians and Milapfest has provided me with this.”
In the future, Rishii hopes that he can contribute to the challenge of improving the quality of Indian arts education in Britain. “I have witnessed many changes in Indian arts most of which have been positive. The accessibility has improved a lot with many passionate teachers passing on their knowledge to the next generation. It is even more credible when the British born musicians are doing it and as practitioners we need to keep advocating and championing quality Indian arts education.”
If I could make my artistic dream come true, I would... I would: Sit beside Ustad Zakir Hussain and play a jugulbandi with him.
Favourite artist
Ustad Zakir Hussain, Pandit Shiv Kumar Sharma, Sonu Nigam
Ambition
To perform with the best musicians in the world and to open a ‘YoTabla’ academy.
rooPA PAnesAr
Roopa Panesar’s name is one of the first mentioned in any conversation about British Indian music artists. Her success as a performer, her growth as a teacher, and her status as a role model, particularly for young Sikhs, are all unprecedented, and the weight of this responsibility sits easily on her shoulders. At Milapfest, we remember Roopa as a young, talented teenage Sitarist, performing solos in the popular Liverpool concert series, ‘Music for the Mind and Soul’, at The Philharmonic Hall. She met Milapfest’s founding director Prashant Nayak at this time and he began to support her development in consultation with her parents, and with her guru, Dharambir Singh. Roopa’s first concerts included duets with her contemporaries and fellow British musicians, Soumik Datta and Jesse Bannister, themselves emerging young musicians.
“I was really excited with my first experiences at Milapfest because the first concert was my first decently paid gig! I remember it being a good audience in Liverpool and that was nice. After that, I came back in subsequent years to play with my Guruji, and I remember another really large and appreciative audience.” Roopa was part of the first Tarang ensemble formed in the 2003/4 concert season, and the experiences of working with musicians like herself - the ensemble included Soumik Datta, Shahbaz Hussain, and Kumar Raghunathan - formed experiences that would shape her musical life in the years to come. “I think that the work with Tarang was amazing. We were the first Tarang group and because of that it was the first real experience I had with working with people from different backgrounds. It brought together very vibrant musicians who were maybe the best around at
that time, and we were able to get into a space and just work together. We had a few concerts together and that was brilliant! From that we formed friendships and continued playing together even after leaving Tarang.”
A significant move in her career was Milapfest’s production of her debut solo album, ‘Khoj’, in the studios at Liverpool Hope University, which featured Tabla maestro Kousic Sen. “Khoj has been brilliant for me. Having your own CD puts you on the professional spectrum, and it was great that there was the backing and push for me to do that.” Despite her success, Roopa is reluctant to set career goals and censors her own desires or ambitions – a reflection on her spiritual contentment, perhaps: “I try hard not to be too ambitious, because from the ego point of view that’s not a great thing, and it might lead to other effects or thoughts creeping into your mind. I tend to take life day by day. My ambition is just to practise as much as I possibly can, to get better at what I’m doing - the universe puts things in place for you.”
This attitude to life stems from her intense ‘musical spirituality’, by which music performance is almost a devotional, personal practice, a change in her brought about by probably the most difficult period in her personal life. “I was drawn to spiritually by chance, and as a source of solace and comfort. As a young mother, going through intense challenges in my life when my life was turned upside down, my bond with my Guru became a lot stronger, in large part, through my discovery of a spiritual guru.” It was during this time, in 2009, that she was asked by the Sai Organisation if she wanted to play in front of Satya Sai Baba in India. She admits to not being a great devotee at that time, but that performance was
“a major turning point” in her life, and since then, her devotion has grown, and according to Dharambir Singh, her own playing and character have changed. “Of course there’s an element of music that makes you want to please your audience, but more than that, I just pray that I get divine inspiration in my performances, and hopefully, I suppose, through that I can serve people.”
Roopa’s earliest memories of music include the early training of her guru Dharambir Singh, and listening to Ustad Vilayat Khan a lot as a child: “I suppose if you think of seven or eight-year-olds today, you wouldn’t think of them doing this, but I was constantly listening to cassette and LP recordings of Ustad Vilayat Khan all the time - I hardly watched television. We also attended a lot of concerts, and as I grew older, I remember meeting Ustad Rais Khan, Ustad Vilayat Khan, Pandit Anindo Chatterjee - we had really close interaction with these musicians through my guru, and all of these opportunities were available in Leicester during my childhood.”
Music has played a major role in her life, first through her school career and later in her personal development: “I was quite academic and did well in my studies and I think music helped me in that, as studies have shown in the past. It created a discipline in me as a child. It’s a means by which you can lose yourself. Through practice it feels like you are developing and creating. You also get to meet other musicians, gain friends and meet senior musicians.” Apart from this, Roopa feels like music brought out a confidence of character that belied the shyness and quietness she had as a child.
Roopa’s humility and calmness are complemented by an inner strength and resolve, and she is determined to try
to address some of the challenges she and others have faced in music-making. “I often get the title of ‘female’ musician, which is obviously down to a traditional mentality, because, after all, it’s not that common. But I wonder why we need that label? Why are we called ‘female’ artists? It’s not tennis! There is no such thing as male or female music, and if anything, I would guess that women can bring a lot more emotion to music.” In addition she also faces up to the barrier of being a British Indian musician, particularly when travelling in India: “I have heard of the so called NRI (non-resident Indian) festival in India and the way in which they are pigeonholed as somehow different. I want to see a time when we are recognised on the same platforms as Indian residents.”
Roopa’s concert tours to share the work of her Khoj album recording, her invitations to festivals in India, and her performances around Europe and the USA have all contributed to her feeling of gratitude and good fortune, and she feels blessed for the experiences she has had.
“I don’t think I have a lot of complaints. Everyone has been very kind to me. I have had a good journey. A lot of musicians struggle and I do in my own way. Maybe we need more schemes to help create more ways of earning as a performer, because what happens is that you get pulled in many different directions.” In conversation, Roopa acknowledges that being one of the first musicians to be in the position she is in means she is something of a trailblazer and everything she is experiencing is new and unprecedented. Perhaps in time, when her own 10 year old daughter becomes an adult, Roopa may have broken through barriers which might ease her own possible pathway in music.
Name
Roopa Panesar
Instrument/Style
Sitar
Gurus
Ustad Dharambir Singh MBE.
Biggest influence of your music
Ustad Vilayat Khan’s music recordings and concerts.
How did your Milapfest Journey start?
Music for the Mind & Soul in Liverpool.
If I could make my artistic dream come true
Playing with the utmost depth of knowledge and emotion which would have come through immense practice.
Favourite artist
Ustad Vilayat Khan, Pt Nikhil Banerjee, Shahid Pervez, Ustad
Ali Akbar Khan, Ustad Amir Khan, Ustad Faiyaz Khan.
sAnJurAn KeerthiKumAr
Many of the recent compositions of Samyo over the past few years have been characterised by the energy and skill of Sanjuran’s percussion. As part of an excellent percussion ensemble, Sanjuran became
a dependable and dynamic artist who could easily lift live performances of the orchestra. One, in particular, Gaurav Mazumdar’s ‘Rain’, is renowned for the thunderous cajon solo, and the composer fondly remembers “how beautifully [Sanjuran] played the percussion part and added a whole colour to the piece.
Sanju is quiet yet very clear in his approach, very attentive, and gives his best to every composition.”
Sanjuran’s earliest memory in music was a high pressure initiation: “It is a tradition in my culture to be introduced to learning through an introduction to your new guru on Vijayadashmi (an important Hindu festival), the tenth day after the start of the festival of Navratri.
I distinctly remember being ushered on stage by my whole family and being taught four basic syllables in Carnatic percussion Ta, Thi, Thom and Nom, and reciting them in front of friends and family.” Classical music was an integral part of his family for several generations, and watching his siblings perform introduced him to the mridangam, the first instrument that intrigued him. He names his guru as one of the biggest influences in his career, alongside his family, as well as the heritage in which he was brought up – the Tamil culture which actively encourages its children to get involved in the fine arts. Beyond this, his wide musical influences ranged from AR Rahman to Hans Zimmer, and they have helped him to create and perform in the way he does today.
“Music has helped me by giving me the opportunity to release and encourage my creative side. It has taught me discipline, dedication and above all an appreciation of all arts. I have also made many friends and acquaintances on my musical journey. I also feel I can perform
at my best in high pressure situations, have more attention to detail and have more confidence in myself.”
Sanjuran was introduced to Milapfest by other musicians who had been part of Samyo and although the recommendation was overwhelmingly positive, he did not appreciate the value of the Milapfest experience until he attended his first Music India Summer School in 2013. In this environment of intensive learning from gurus, performance opportunities, and live festival experiences, he felt that he really developed as an artist: “I have advanced in many areas of my music since joining the Milapfest family. This includes my self-confidence and my technical ability, as well as my musical knowledge. This is especially relevant for me as until I joined Milapfest I had no experience working with North Indian musicians. The guidance and knowledge I have gained have enabled me to expand my horizons further than I ever imagined.”
Sanjuran feels that the Milapfest experience, which included the 2015 Samyo Musician of the Year Award in his final year, has also encouraged him to consider music as a realistic career path and he dreams of performing one day alongside artists he considers his role models. Furthermore, he wants to explore composition as part of a bigger role in the music industry. Although he feels there is a great success story in the way people are exposed to Indian music in England, he wants to contribute by expanding and spreading Indian music to all corners, ensuring, in particular, that talent and dedication prospers.
Name
Sanjuran Keerthikumar
Instrument/Style
Mridangam/Ghatam/Cajon
Gurus
Shri K Ananthanadesan.
Biggest influence of your music
The support and encouragement of my family.
How did your Milapfest Journey start?
Samyo audition, 2013
If I could make my artistic dream come true, I would... Accompany AR Rahman, performing all of my favourite compositions from the 90s.
Favourite artist
AR Rahman, Patri Satish Kumar, Sanjay Subramaniam, Bombay Jayashri.
ACKnowledGements
The stories in this book relate to work that Milapfest has done in training and performances with a large number of young musicians, mostly members of two national ensembles, Samyo and Tarang.
We are grateful to the young musicians’ own gurus and teachers, who have played a major role in supporting them, along with their parents and families, many of whom have inspired them from their earliest days in life.
We thank all of the professionals who helped to inspire our young musicians, and who are named as gurus or influences in their stories. Apart from them, Gaurav Mazumdar, Girishh Gopalakrishnan, Kousic Sen, Ranajit Sengupta, Dr Rajeeb Chakraborty and Anil Srinivasan, and in the first few years of the development of Samyo and Tarang’s existence, Dharambir Singh and Manorama Prasad, have all supported the education of our young musicians through their work for the ensembles as mentors, conductors or composers.
We would also like to extend the sincerest of thank you’s to the following:
Youth Music, the national charity that helped to create Samyo in 2003, a significant supporter to Milapfest’s artist development programme.
Arts Council England (ACE), which supported the creation and ongoing development of Tarang. Additionally, Samyo is now one of eight National Youth Music Organisations funded by ACE.
Liverpool City Council, who supports the numerous concert series and festivals in which many of these young musicians have made their debuts.
Liverpool Hope University, who provide the support and technical assistance at residentials and schools for our young musicians.
Pritpal Ajimal, Kikuchi, who has provided all of the graphic design work required to put this book together.
MILAPFEST 2016
The entire Milapfest team members make important contributions to the support and nurturing of our young musicians, and at the time of writing, they are:
The Board of Trustees, led by Chairman Alfred Gatfield
Prashant Nayak - Executive Director
Pravinder Singh - Head of Programmes & Planning
Archana Shastri - Director of Marketing & Finance
Kousic Sen - Resident Artist & Percussion Conductor
Pravinder Singh - Head of Programming & Planning
Hannah Payne - Education & Ensembles Manager
Helen Kelly - Executive Assistant
Natasha Mclaughlin - Events & Admin Officer
Stephanie Martin - Marketing & PR Officer
Aditi Sen - Arts School Coordinator
Page 4-5: Pradeep Karanjkar
12: Mark McNulty
13: Mithushan Sivagurunathar
14: Pradeep Karanjkar
15: Kabilan Raviraj/Dilrani Kaur
16: Archana Shastri
17: Courtesy of Jasprit
18: Mark McNulty
19: Mark McNulty
20: Chris ShinySoul Christoforou
21: Pradeep Karanjkar
22: Kabilan Raviraj
23: Pradeep Karanjkar
24: Mark McNulty
25: Sraiyanti Haricharan
26/27: Courtesy Pirashanna Thevarajah
28: Akin Aworan
29: Courtesy Raheel Husain
30: Mark McNulty
31: Courtesy Raam Jeganathan
32: Kabilan Raviraj
33: Hitz Rao
34: East West Photography/Gini Bhogal
35: Pardeep Karanjkar
36: Mark McNulty
37: Mithushan Sivagurunathar
40-41: Mark McNulty
“Art wAshes AwAY from the soul the dust of eVerYdAY life.
”
PaBlo Picasso
MILAPFEST
UNITING HEARTS THROUGH ARTS
Milapfest is Britain’s leading Indian Arts Development Trust, producing world-class performances, education, and artist development opportunities throughout the year. Look out for exciting events in your areavisit our website www.milapfest.com
