When filmmakers focus on the life of trained musicians, they invariably approach Arati Ankalikar -Tikekar. From Sardari Begum to Anternaad to Samhita, the Hindustani classical vocalist has lent her voice to many immortal compositions. The last two films won her the coveted National Award for best female playback singer. For Arati, it is just a matter of chance. For she belongs to the stage and this weekend she promises to enthral Delhiites as she is part of Indira Gandhi National Centre for the Arts’ star-studded all-night concert. “I like this format as you have a captive, dedicated audience that is willing to hear music for eight-nine hours at a stretch.” She admits she is nervous about “Delhi’s cold and pollution, both of which play havoc with vocal cords”. “But as it’s rained in Delhi, I believe, the pollution level has come down,” she sighs.
Excerpts:
You are a singer trained in the classical tradition, yet have sung for several films. How did that happen?
Singing in films happened by chance! Shyam Benegal asked a tabla player from Mumbai to recommend a good singer for Sardari Begum , and I was suggested. I went to the studio, composer Vanraj Bhatia and his assistant Ashok Patki were there. Shubha Joshi who sang the duet, “Raah Mein Bichhi Hai Palke”, with me, was also there. Shyam babu explained the context of the song. I sang a few mukhras and Javed Akhtar quickly wrote the lyrics. We worked on a tune and then and there the song was finalised! Later, I sang many other songs for the film.
Singing for films is such a completely different experience. All your training and knowledge is there for you to embellish and improvise, but the basic music is someone else’s. Also, “shabd bhaav” and “swar bhaav” are two different things, and as classical singers, we are taught to stress on the “swar bhaav”; in films, it’s the opposite. I won the first National Award for Konkani film Anternaad , based on the life of a classical musician. In 2013, I won another National Award for Samhita, which starred Milind Soman. The Marathi film tells the story of a King who falls for the voice of a courtesan, so the voice needed to be arresting. Again, I did that in a big hurry; the music was already made. It was a challenge which I enjoyed doing.
What does it take to be a classical musician?
It involves lifelong dedication. Vijaya Dhumale was my first teacher; it was she who took me to Vasant Rao Kulkarni, and later also to Kishori Amonkar. Vasant Rao Kulkarni was not a performer, did not have a good voice but was an excellent teacher and let me be myself. He never allowed me to sing anything other than classical music. I learnt all the good things from all gharanas from him, though his own training was of Gwalior Agra gharana. I also learnt from Pt Dinkar Kaikini for around 10 years. He was a yogi, with a great knowledge of “sahitya”. He was a great composer too. He had also learnt Carnatic music, Arabic music…and created many ragas too.
I got a scholarship from the National Centre for the Performing Arts in 1980, and then went to Kishoriji. Everyone in my generation was totally floored by her unique style, so original, sab pe chha gayi theen . I have actually not learnt that many years from her, but her influence on me was total. Learning from her was not easy; she was not a conventional teacher.
She showed us how to surrender to a raga. One has to learn to internalise and savour the music; if you find what you are creating attractive, there is no doubt that others will enjoy your music too. I started singing on stage from the age of 15-16.
So, in this art form, the audience is paramount?
Well yes, the listener has to surrender to the music; music cannot be listened to in a hurry. The pace of the singer and the audience has to match. I always believe the best audience is your accompanist, but even better than them is yourself. No one is better than you in knowing your capacity. I am not denying that audience is very important because on stage you are communicating, and that cannot be one way. When I am at home there is a comfort level, on stage you need to block out the negatives and get into what I call a zone, to bring out the best you can. Our music is not for entertainment, it’s to help evolve as a human being.
Who are the voices who have impacted your music?
The voices I really like and admire are Kesarbaiji, Mogubaiji, Hirabai Barodekar, Begum Akhtar, Shobha Gurtu, Malini Rajurkar, Veena Sahasrabudhe. Carnatic singers MS Subbulakshmi, Bombay Jayashri. For light music, I switch to Lataji and Asha ji.
Recently you too have started singing jugalbandis, which seems to be a new craze...
Last year, I did a series of concerts in the US with Carnatic singer Gayatri Venkatraman. It was difficult, as I had to sing in a different scale, G sharp. It was interesting, as I sang North Indian ragas, she sang the Carnatic equivalents. The music should touch the hearts; just vocal acrobatics are quite pointless.
After 40 years of singing, what are your new preoccupations in the world of music?
I find composing interesting; it has been flowing for the last 10-15 years. A “taal mala” that I sing quite often strings together different layas (rhythms) in the same composition.
I also enjoy teaching; I have around six girls who stay with me; it’s like a gurukul of old. They are all around 20 years old. I also have students in the US. It’s important for me to carry forward this centuries-old musical tradition, and teach the next generation. I have been taught invaluable things by my gurus, they have entrusted me to pass it on. None of the knowledge that I imbibed has left me; it’s all there in different compartments in my brain. Our music is really formless, it takes form, again to become formless. It cannot be confined.
(Arati Ankalikar-Tikekar will perform on 19th November at IGNCA’s All Night Music Concert, 9 p.m. to 6 a.m.)
Published - November 15, 2018 04:07 pm IST
