Sheik Mahaboob Subhani and Kaleeshabi Mahaboob are familiar names in the traditional instrumental music circuit. In fact, they are one of the few who have accorded nadaswaram the respect it deserves in the field of Carnatic music. On a warm Friday evening, when I meet the Srirangam-based artistes, they say it is a special moment in their lives.
The couple has been called to perform for the launch of Reshaping Art. And, not just that, today, they are with their son, Ferose Babu who will be sharing the dais with them. Babu recalls how as a child he used to sit with his parents and practice sarali varisais . Their family stood out from the rest in the Chilakaluripetta district in Andhra Pradesh, some of whom were not for women performing in public once they were married.
Smashing the patriarchy
The duo broke convention and became rebel artistes. “I told my family that I will train her. And, she will be performing with me in every concert. After a while, they were convinced, especially when praises started pouring in from around the world. From frowning upon us, they began to tell me to never stop her from singing; and that, if such an occasion arises, it is better if she pursues a career of her own,” says Mahaboob. Kaleeshabi sits listening to Mahaboob, with a smile on her face.
“He was my first-ever guru. He taught me the nadaswaram at the age of five. I am also his niece.”
Even though encouragements started pouring in from the beginning of their career, it was at the Thiruvaiyaru Thyagaraja Aradhana that recognition from connoisseurs happened. Once they moved to Srirangam in the 90s, they learnt nadaswaram under the legendary Sheik Chinna Moulana in the true gurukul style for over 10 years.
The duo has also performed before APJ Abdul Kalam, who complimented them on not just their music but also the work they have been doing for special children.
“We have been going to around 10 schools in Andhra Pradesh and Tamil Nadu where we play for these children. It is therapeutic for them listening to the soothing notes of the nadaswaram. When they immerse themselves in the melodies, they feel light,” says Mahaboob.
Performing for two hours in front of Kalam was most unforgettable, say the Kalaimamani awardees. They have been quietly breaking barriers with their art form.
The couple, that belongs to the eighth generation of nadaswaram musicians in their family, has performed both in temples and mosques, as well as at Muslim weddings. Some of the Carnatic kritis have big fans at these events, says Kaleeshabi. “Once we performed for a Puducherry Minister’s wedding in Nagore. A lady requested us to sing the keertanam , ‘Nagumo’.”
The present generation is hesitant to take up the instrument for a mainstream career in music. This is not surprising, considering the secondary status accorded to instruments in the South Indian traditional music spectrum. However, Babu, their son, has given up his IT job to pursue the nadaswaram seriously. He says he tried to balance his nine-to-seven job and music, but could not pull on for long.
“I did not have enough time to do riyaaz . If I have to shine in one field, I will have to dedicate my life and energy to that. It is not going to be an easy journey. This art form is already deteriorating because of lack of support ”
However, the nadaswaram family has still not given up hope. They are serious about passing on the baton to the new generation. Kaleeshabi is already making plans to train her four-year-old grandson.
“Let’s see... sarali varisais might be a good start.”
