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arts JOURNAL

9 August 2012 Thursday - Thrissur

www.cityjournal.in

HAILING from a family of physicians, eminent playback singer Gayathri, who is a post graduate in English literature, carved her own niche in the musical scenario with unique perspectives. Having a rigorous training in basics under Nedumangad Sasidharan in Calicut, she advanced with pedagogical systems of both Carnatic and Hindustani genres of Indian classical music, under Mang a d K Nate-

Consummate artistry cum sancto spiritu

By Aasish Venugopal
Winner of Kerala State Film Award for best singer in the year 2003 for the song Enthe nee Kanna from the film Sasneham Sumitra, and Outstanding Women Achievers Award of Art of Living in 2007; Gayathri, shares her views on artistic inclination, in this interview, finding time for interesting rendezvous amidst her hectic schedules of shows and shoots as she was busy packing for a journey. Excerpts from the conversation:

san and Cheppad AE Vamanan Namboodiri in Thrissur, and Dr Alka Deo Marulkar in Pune of Jaipur gharana (gharana is a system or school of musical training adhering to a particular style), Pt Vinayaka Torvi in Bangalore of Khirana gharana, and Shubha Joshi in Mumbai.

As a full time musician now, how was your initiation, and what was the turning point?
I was not at all serious about my musical outlooks, as academic excellence was the key factor in our family. Nevertheless, I was learning Carnatic Music that gifted me with a solid foundation with which I can explore any kind of patterns. But after my graduation I started singing in orchestras and choruses in cassettes. During this time I had chances to meet good musicians who recognised my talent and suggested further moulding. Once I happened to meet Dr Alka Deo Marulkar when she was here for a performance. She made me sing and realising that my voice suits the genre, she accepted me as her disciple.

challenging. The awareness of rapport with ultra sensitive microphones, skill for quick learning, singing according to metronome, and acquaintance of adequate voice projection and modulation techniques (dynamics) are the essential factors to be considered when singing inside a studio. Contribution of technology is huge. When it comes to live performances the dynamics cannot be worked out vis--vis studio renditions. Despite the meticulous studio interpretations, it assumes a give and take process as it is a direct communica- Amonkar who lost her voice for two years in the late 1950s for unknown reasons. Now I am tion with the audience. rediscovering my voice that I have been fortuYou are a regular practitioner of Art of nate to learn from genuine gurus.

ular exposures of exotic mix ups, like East meets West Music and other musical confluences and experiments. By performing in venues of variant vibrations and extremes, I had been fortunate to come in close contact with the pulses of different classes of audience that would transform an artiste into a passionate nationalist.

Living (AOL). How does it complement As a performer how do you prioritise your music? classical, ghazal, bhajan and stage AOL has served me with lot of spectac- shows?
I dont have any priority. I take up whatever comes to me (says casually). For me everything is inter-related. Performing stage shows and playback singing bring fame and monetary benefits with which I can keep up the other sides such as learning from authentic musicians. Now I am doing film shows on a large Being a part of maestro Ilayarajas scale and performing ghazals are also not sporadic. But I am looking forward for gradually Thiruvasagam plunging into classical concert circuits.

Yeah, apart from his film songs like Ghanashyama vrindaranyam from Kocho Kochu Have you ever been into teaching? Do Santhoshangal, I also relish the chance I got to you have any plans on training methsing lead solo threads in the symphonic pro- ods of your own? duction of the versatile genius. Some day I will certainly step into a teachers shoes. I would like to follow the training Favorite music director methods of my gurus. To mention the name of one is difficult. Every one is distinct in their own methods of How do you evaluate the indulgence of composing, because each one has their own society in the music education sector of expertise in their modes. But to say a few, SD Thrissur as a cultural capital? Burman, Madan Mohan and Ilayaraja for sure. Its very bad. Calling it a cultural capital is only for namesake. Nothing is happening here Do you have strict practicing sessions? compared to other districts. I am afraid I canI practice daily, but there are no strict not put forward yeoman services for organising schedules as my profession demands lot of events, as my job is to perform. Cultural associatravels, recordings and performances from tions like SPIC MACAY should join hands with which I cannot abstain. Since traditional government authorities, institutions, colleges methods of practice require waking up early and corporate bodies to make people aware of in the morning for maintaining vocal hy- how music is inevitable in our life. giene, sound sleep is essential. Though as of now, I cannot oblige to such systems, I prac- On upcoming projects tice whenever I get time. A recent Hindusthani music album has Occupational hazards like voice strain, been released by Pt Hariparasad Chaurasia. lacking resonance due to pollution, are affecting my voice. These can cause depression Another one, together with Late Philip V for an artist, during which I used to think Francis, is on Kabirs bhajans. There are also about Padma Bhushan Kumar Gandharva films like Mayflower and Rasaleela with Salwho stood the test of time, singing un- il Chowdhurys son Sanjoy Chowdhury as the obtrusively with a single lung, or Kishori music director.

Live and studio experience

A good question indeed (smiles). It is entirely different and very