Anoushka Shankar has influenced the music world by creating her own unique sound and style. Her ability to blend traditional Indian classical music with genres such as jazz, electronica, and contemporary classical music has contributed to her evolution as a musician.
His latest project – a trilogy album – exemplifies this. The first two installments of his mini-album include Chapter I: Forever, For Nowwas released in October last year, after Chapter II: How dark it is before the dawn In April.
In an insightful conversation over a video call from London, Anoushka opens up about the nuances of her creative process, her collaborative experiences, and her musical legacy.
Edited excerpts from the interview:
What was the inspiration for this trilogy and how are the ragas, themes and moods depicted in its various parts?
The chapters depict a musical journey divided into different parts. Each chapter explores unique themes and moods; Chapter One with melodies reminiscent of a sunlit garden, and the evening melody of Madhumati, Chapter 2 Experimental immersion in the night and healing through ambient textures. Next Chapter Three promises to conclude with themes of power and joy.
What inspires your compositions – the circumstances that lead to the music or the need to create music that defines that situation?
When I’m alone and writing, strong emotions – whether personal or from outside events – inspire my creativity. It can be anything from anger to heartbreak over the news. These emotions find their way into my music. In addition, collaborating with others is also an inspiration. The connection between musicians allows ideas to flow, creating something greater than what I could have achieved alone, which is one of my favorite experiences.
Is it challenging for instrumentalists to have their music be interpretive, whereas singers can convey specific messages through lyrics?
I choose to work with singers when specificity feels important to that piece of music. When I was going through a heartbreak a while back, the songs I was writing were important to me because those songs were about that time. So, they were songs with singers and lyrics, and I felt that should be obvious.
In this context, how do you see the challenge facing instrumentalists?
Sometimes, instrumentalists have a challenge, but it’s a different advantage. Someone who’s listening to a song might be listening to another person’s story. They identify (with it) that they’re going through the same thing or have gone through it. Otherwise, they’re listening to someone else’s song that’s telling their story. Whereas with melody, it doesn’t matter why I’m sad or why you’re sad; if you feel sadness in this music, it will help you. Music transcends emotions and binds us; it can be a source of comfort, sometimes even overcome obstacles without the melody. Sometimes, the melody can be a hindrance as well.
As a global musician, how does your mindset or approach change when you visit India for performances or collaborations?
Practically speaking, not much changes, especially when I am performing my music. Wherever I perform, my band and my compositions remain the same. I don’t mean we play the same thing every night, but I mean the music is what it is. I don’t change it especially for India. But emotionally, whenever I come back to perform in India, there is always a sense of connection to roots and a musical homecoming. When I perform in India, I feel a deep sense of gratitude because I feel very connected to my musical roots. So, when I am there, there is a slightly heightened emotion in the music.
Given the influence of your legendary father, did you always know you wanted to be a full-time musician?
No, I was not one of those rare people who had total clarity from an early age. I was free to explore various interests, although I was deeply immersed in a vibrant musical environment. This balance allowed me to shape my journey in music in unique ways.
When did you decide to pursue music full-time?
At the age of 18, I had to make a choice between university and music. I had been touring and performing since I was 13, and I decided to follow my passion for music rather than pursue further studies. It was that turn in the road where I knew I was doing something I loved and I was lucky enough to already be doing it.
If you had considered getting a degree, what would you have wanted to graduate in?
I think languages have always been my strongest suits, other than music, and I’ve always loved the written word. I love writing, so probably English literature. Otherwise, it’s something in the humanities or about people. As I get older, maybe something in the clinical psychology field.
You have faced many painful experiences; where do you get your strength to move forward?
On the one hand, the more we live, the more we believe we can get through things because we have proof. Every time you go through something and survive it, you have more faith that you can handle the next challenge. Experience is proof of our inner strength. When I don’t have that experience, I rely on people who have gone through things I haven’t. I’m very attached to people, whether they’re family members or friends. When we don’t have the strength individually, we pull each other through it. Sometimes, your strength is a product of the strength of the people around you. So it’s a mix, but over time, I believe more and more in the human ability to endure and overcome.
Is having a multicultural background an advantage for an artist?
It depends on what the artist wants to achieve. Nowadays, with global reach, we are all influenced by multiple cultures to some degree. However, in the 1990s and early 2000s, my experience interacting with diverse cultures helped. It taught me to adapt, communicate respectfully, and navigate different environments. This ability was crucial to traveling around the world and sharing my art. Creatively, too, it has been enriching as it allows for a more authentic exploration of artistic influences. A multicultural background can be beneficial, especially in how it shapes and informs an artist’s work and interactions.
What have your major global collaborations taught you, and how do you view collaboration in general?
For me, successful collaborations are based on respect and humility. It is important to approach each collaborator with a deep appreciation for their traditions and styles, seeing them as equal contributors to the creative process. This means setting aside any feelings of superiority and controlling egos. I have learned that the best collaborations flourish when personal agendas take a backseat instead to what is best for the collective creation. This often means supporting the ideas and contributions of others if they enhance the overall composition, even if they differ from my own.
Do you see your sons playing the sitar or their inclination towards the sitar?
Anushka with her sons and mother at Oxford University after receiving an honorary degree recently.
I would be surprised if that happened. Neither of them is that interested. They are both well versed in music and art, but they don’t like sitar. That’s fine. I decided long ago whether I would be their guru or mother, and I don’t think I can do both effectively. So, I am their mother.
Are they aware of the family legacy?
Yes, to some extent. I am glad that it doesn’t have too much of an impact on their everyday lives. Sometimes, when they come to India, they are amazed by the visibility of the heritage there. They know about their grandfather’s (Ravi Shankar) music and contribution, and they are proud of it and they support my musical journey, even though it is not a central part of their daily lives.
Are there any similarities between the role you play now for your sons and the role your mother played during your upbringing, with and without music?
Yes, that’s exactly it. I parent more like my mother than my father because I am their guardian, not some distant figure. So, there are a lot of similarities, although each generation brings its own differences.
