“Improvisation in Carnatic music is a widely misunderstood concept. It is unfortunate that people have started to think that improvisation has to be complex.”
Chennai-based Sivasri Skandaprasad (27) is multifaceted — a professional Carnatic vocalist, Bharatnatyam dancer, engineer, choreographer, art activist, playback singer, etc., she has also lent her voice to various TV commercials. She started singing at three and has given playback for the films Ponniyin Selvan 1 and 2, which has A R Rahman as composer. She won plaudits from Prime Minister Narendra Modi for her Kannada rendition of a devotional song.
In a free-wheeling interview with A. Radhakrishnan she talks about her plans to train the next generation in the 64 Indian art forms through her foundation Ahuti.
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Can you tell us briefly about yourself?
I’m an Indian classical musician, Bharatanatyam dancer and art proponent. I have a bachelor’s degree in bioengineering from Sastra University (Thanjavur) and a Master’s degree in Bharatanatyam from the University of Madras. I am also a student of Sanskrit and did a certification course in Ayurvedic cosmetology.
That`s a pretty diverse portfolio. How do you define music? Is silence music?
Music is that which is not. It is both sound and silence. The very Aadhara of life force is music. Music cannot be defined or confined to mere words, but can be experienced as the Nadha manifestation of the ultimate Sookshma Swaroopa.
Tell us about your training in music and dance. How did you become proficient in Carnatic music?
I started learning music from my father, Shri J Skanda Prasad. I underwent formal training in Carnatic music under Guru Sri AS Murali. I’m currently learning Hindustani music from Guru Shree Mahesh Kale. I have trained under Guru Shrimathi Roja Kannan for Bharatanatyam.
My training in music has been the same as anybody else’s. My father ensured I practiced every day. He made sure I had breakfast after my session every morning. Considering he has accompanied veterans in Bharatanatyam, he asked me to practice as much as I did for music.
There cannot be a complete proficiency in Carnatic music. It is a linearly progressing learning curve where we are lifelong students who aim to be a better version of ourselves every day.
How difficult is Carnatic classical music?
Any subject with elaborate grammar is difficult. It requires constant practice, application and internalisation for making it seem less difficult. This holds good for anybody.
Who are your major musical influences within the Carnatic tradition?
As aspiring musicians, we try to learn from every artiste. More than the artiste, I have been open to getting influenced by the Bhava in their music. If a particular rendition touches my soul, I allow myself to get influenced by it. It does not necessarily have to be any specific artiste.
What are the key elements that distinguish Carnatic music from other classical music traditions?
Carnatic music grammar has an exhaustive Mela Karta and janya ragas. It has scope for vast number of permutation and combination of ragas and swaras. It also flaunts an extremely complex laya system.
The most distinguishing element of Carnatic music compared to other classical music traditions is that there is a lot of emphasis on Sahitya and the Bhava. The concept of bhakti, which contextually translates to surrender rather than devotion, present in every single Carnatic rendition, is not necessarily present in other classical music forms.
How do you select the ragas and compositions for your performances?
Initially I would prepare a list of songs for concerts. But as I started engaging with the audience, I gradually stopped preparing lists and started to analyse the pulse of the audience and sing accordingly.
Explain the significance of improvisation in Carnatic music?
It is a widely misunderstood concept. It is unfortunate that people have started to think that improvisation has to be complex. It has lost its original meaning. For example, the word, Manodharma, meaning, one’s own will, where an artiste has the freedom to create art from the depth of their understanding of that art, well within the boundaries laid by its grammar.
But today Manodharma is a segment that the rasikas or even the artistes expect to be rendered in a certain way which is acceptable to them. For some reason, the artiste has been confined to certain expectations of people and has lost the right to Manodharma.
How do you maintain the purity and authenticity of Carnatic music while incorporating modern influences?
Carnatic music or music in general is pure in its own form. We do not have the capacity to make something as complete as Carnatic music, impure. As for authenticity, we have all learnt from our gurus in a certain Bani, and sticking to that as far as possible is more than enough.
What challenges do you face as a Carnatic singer in today’s music industry?
Any art, like anything else, changes with time. A challenge I face as an artiste in today’s world is to make the previous generation understand that adding new elements to the tradition is not wrong if it sounds good, and making the next generation understand the age-old tradition and cultural depths that this art takes us to.
How do you engage with your audience during your performances to convey the essence of Carnatic music?
It’s very simple. Instead of making them sit and listen to us in silence, we just make them sing along. It is very important that we share the joy and bliss that we experience while doing music, with the people. Since it might be a large gathering, simple phrases can be sung together to experience an entirely new dimension of bliss.
What motivated you to start performing Namasankeerthanam? Do you like bhajans?
To me, Carnatic music and Namasankeerthanam are not different. Even today in my concerts, I sing Dikshitar kriti, Tiruppugazhs, and Tyagaraja kritis along with songs by various other composers across India. Sangeetha Pita Maha Purandaradasa did Namasankeerthana and composed so many bhakti poems for us to cherish and experience today.
What is your daily schedule like? How do you juggle your several roles?
As an artiste, I need to give a certain time for my vocal chords every day. I do not sit and sing for hours together. As my gurus always tell me, practice not only involves singing, but internalising a lot of other factors, and listening to numerous kinds of music and learning from everywhere.
How has Bharatanatyam helped you shape your career?
Bharatanatyam has opened up the dancer in me, and today when I perform on stage, I dance through my music.
What was it like singing for A.R. Rahman? Should a singer have expectations?
It was a great learning experience to work with a very senior music director like A R Rahman for the films Ponniyin Selvan 1 and 2. I generally do not have expectations before any new experience as it will curtail my learning curve.
What did you feel about Modiji and his tweet on your Kannada rendition of devotion to Shri Ram?
It is a blessing to live in the same era as greats like Modi ji. To be mentioned by such people is a great encouragement for young artistes like me and to understand the value of culture and responsibility that every citizen holds in carrying this legacy forward.
What languages do you sing in? Are you a polyglot?
I wouldn’t call myself one. But I love to learn new languages and try to sing songs in as many languages as possible. One such attempt was when I tried to sing an Odia song on Lord Jagannatha.
Tell us about Ahuti and its objectives.
Ahuti is an organisation founded by me. I believe that through it, I can offer the students a rare opportunity that will foster artistic, professional and personal growth to prepare them for a successful and responsible life as citizens and artists.
Ahuti is devoted to the 64 Indian art forms and we plan to nourish and enrich the next generation in these art forms so that they grow as holistic individuals and experience the Indic/ Bharatiya tradition and learn to acquire the vidya or knowledge to pass it on to future generations.
Ahuti, to me is all about serving God and the country. From singing to dancing, to oration and poetry, to nation and nationalism, it empowers you to touch the soul of nature with your art.
What are the awards that you have been honoured with? What do they mean to you?
I have received a few awards including the Yuva Kala Bharati All Rounder award from Bharat Kalachar and Ustad Bismillah Khan award from Swarajya at Pondy Literature Festival. Awards are definitely encouraging for artistes. Recognitions are an age- old tradition, which is like a pat on the back and a nudge to do more.
Your message to artistes
Art is not just a performance. It’s an offering to the almighty. So, let’s all do it with utmost devotion.
A.Radhakrishnan is a Pune based freelance journalist, poet and short story writer.