'Pather Panchali’s music is the best': Anoushka Shankar

Ahead of her February 4 concert in Kolkata, Anoushka Shankar says the sponsor culture in India is outrageous
What is the scariest part of performing in Kolkata? Or is it a myth that Kolkatans really understand their music?
It is not a myth by any means. But the belief can go far. Even if we are performing in a city like Chennai, every single person in the auditorium is not a music expert.When one is doing a classical show, the kind of people who turn up are the ones who really understand the music. It’s bit of a test for the performer. But, when I am doing the “Traveller” show, I am happy to share my own music. Classical music lovers will appreciate the classical elements. But there is something for those who are not music expert or don’t know anything about Flamenco. I want them to just listen and have fun.
While Kolkata is known for its love for the arts, organizers claim that the city isn’t that forthcoming when it comes to buying tickets. Why do you think this dichotomy exists?
I am no expert on Kolkata but a similar situation happens in Delhi. It’s frustrating when people don’t spend enough on tickets. As an artiste, I feel people should support music. If people can spend lakhs and lakhs on a painting, what’s the harm in spending a few hundreds on a concert ticket? In Delhi, I guess, people are used to passes. I see a rough transition happening though I would like to see more people supporting the arts by buying tickets. The sponsor culture in India is outrageous. They block all the front seats while music lovers are seated behind. Sometimes, people don’t even show up and the front rows go empty. This only happens in India and that’s crazy. There isn’t enough direct connection between the musicians and the audience. Abroad, people patronize arts and the sponsors are present discretely somewhere at the back.
You’ve composed a Bengali lullaby for “Anna Karenina”. How much of Bengali music do you listen to on your iPod?
I listen to very small amounts of baul and folk music. The Bengali music that I listen to is through Tanmoy (Bose). My father is in the loop as far as contemporary Bengali music is concerned. But I haven’t really got a chance to listen to a lot. May be, I will pick up some when I am in Kolkata this time around.
Panditji has composed for so many movies. Do you have any personal favourites?
“Pather Panchali”. Though there are many others that I like, I cherish his music for “Pather Panchali” as a film experience. The film and the music are married so well. There is not a single moment when you find one overshadowing the other.
The last time around, you had spoken about the need for restoration of Uday Shankar’s “Kalpana”. What about preserving your father’s old records?
It’s a very big and ongoing process. I find it overwhelming when I see how the work is being done. There are reels and reels of tapes of my father’s that need to be looked after. Earlier, the tapes were not stored correctly and humidity would often affect them. Recently, my father’s record label has started to bring out special re-releases of his earlier works.
Lessons you receive from your guru change with time. At this stage in life, how is the teaching process of your father?
It’s very different and special now. It’s very intricate when we do lessons together. He is usually playing freely and then, he asks me to play together. Sometimes, I repeat what he has played as I try to expand my musical vocabulary. It’s a different feeling altogether. But such lessons are few and far between though I try to do so whenever we are in the same city.
Your father is playing at a concert in Bangalore. Why is Kolkata been given a miss?
One has to be very careful with his travel these days. The things worked out in Bangalore. Organizers can answer why Kolkata hasn’t had his show. In fact, it’s been more than three years since I performed in Kolkata.
In the context of fusion shows in India, how is the music of “Traveller” different?
The quality of crossover that I have done is not about casual fusion. There are times when I have come across fusion music in India which is very testosterone driven. Even though it’s called crossover, the music often gets very loud at the end. My approach to music is very different. I want to have fun on stage where we combine the music of Spain with the dynamic and vivid Indian notes.
Your hubby, Joe Wright, is filming “Anna Karenina” in Russia now. Are you planning to join him once the Indian leg of your tour is over?
I’ve been touring quite a bit. I did 30 shows in Europe in 40 days. Then, I did this tour of India. I’ll be taking a short break before going off to North America where I pack in 20 shows in 30 days. Zubin is in Delhi with my parents and it’s -35°C in Russia now. Zubin and I will not be attending the shoot.
Zubin isn’t travelling with you to Kolkata. How does he behave when you leave him behind?
Zubin is very social. Of course, we love being with each other. But I have noticed that the older he is getting, he is also becoming more aware. He is happy as long as he is taken care of.
Finally, what’s your take on India’s obsession with Bollywood?
Bollywood dominates all other forms of music. Abroad, it’s different. There is music and there is cinema and sometimes, music is part of the film. But in India, the whole of the 20th century has seen music becoming an intrinsic part of movies. Today, things have gone slightly out of hand. Film music should be a slice of the pie and not the whole pie itself.