When we caught up with Anuradha Pal, she was busy packing her bags for her latest concert in Jaipur this Saturday. It is not unusual for the popular tabla exponent, who keeps performing in some part of the world every day. But this time it is not that easy as she lost her father recently.
“Even when he was in hospital, he persuaded me to fulfil my commitment saying that music is above everything,” she recalls with a tremor in her voice. After participating in the all-night long “Raag” in Jaipur, Anuradha will leave for a major concert tour to Germany where she will collaborate with NDR band as part of the India Week in Hamburg.
In a chat, the tabla exponent talks about her training under tabla doyens, Ustad Alla Rakha and Ustad Zakir Hussain, and how tabla is becoming the centre of attention.
Excerpts:
On deciding to learn tabla
I started learning tabla as an adjunct to vocal classical music which I started learning when I was seven years old. Initially, the teacher refused to teach me as he felt that I could not play as I was a girl and tabla required lot of strength and stamina. I persisted, learnt on my own, finally convincing the worst critics by performing relentlessly since I was 10.
On learning from the legends Ustad Alla Rakha and Ustad Zakir Hussain
It was very exhilarating and challenging learning from the masters of tabla. Their own exacting standards and expectations drew the best out of me, spurred me to work harder without break. I would often follow the practice of ‘chila’ — the regime of practising for 10 hours everyday for 40 days, in order to get perfection and build stamina. I learnt the finer nuances of tala, laya and aesthetics of tabla for over 18 years from them and also special techniques to create tonal modulations.
One of my memorable experiences was accompanying both on their solo concerts. I learnt so much about the culture of music, tehzeeb and values, which have been guiding goal posts for me.
On challenges faced due to non-music background
I faced many challenges, one of being a female in a male dominated field and second of not belonging to a musician family. Fortunately, my parents, Ila and Devinder Pal, gave me the freedom and confidence to take on the challenge of not only learning tabla, but also helped me develop talent and harness my passion and become good enough to make it my profession.
I was also supported by many great musicians like Pandita Girija Devi, Pandit Jasraji, Pandit Hariprasad Chaurasia, Ustad Shahid Parvez, Ustad Sultan Khan among others, who took me on as their accompanist in prestigious concerts across the world.
On tabla becoming the instrument for solo shows
The art of tabla soloing was popularised by many great great masters like Ustad Thirakwa Khan Saheb, Pandit Kishan Maharaj, Pandit Samta Prasad, Ustad Habibudin Khan, Ustad Alla Rakha and Ustad Zakir Hussain. It is fantastic that tabla is finally getting its due! The fact that no music festival is complete without a tabla solo speaks of how popular tabla solos have become. I am very thrilled as this has opened huge opportunities for budding talent to get noticed.
On the difference between being an accompanying musician and playing solo
I personally enjoy both as they present me in totally different avatars. Since I study the style, temperament and music of every musician I plan to work with, I get an opportunity to express myself differently and present a different kind of tabla with each of the diverse artistes. For any good team to work and flourish, there has to be adjustment, which is a part and parcel of this process of music creation and collaboration, which I enjoy very much!
As a soloist, I have the complete freedom and this gives me possibility of presenting my own original creations like ‘Krishna Ke Taal’, ‘Tabla Jugalbandi with myself’ and ‘Sufore’, which have been highly appreciated in India and abroad..
On her upcoming jugalbandi as part of Raag in Jaipur
This is an innovative rhythmic dialogue, presenting a synthesis between the traditional and the contemporary. Here I present easy to understand, original stories on tabla like husband-wife arguing, mother-daughter interaction, stories from the Ramayan and Mahabharat, Ardhanarishwara that is purush and prakruti in Indian spirituality and contemporary interpretations of magic of monsoons, steam engine, horse galloping, Mumbai traffic and festivals like Holi, Diwali, Ram Navami, etc.
I keep two tablas as a jugalbandi is between two persons or instruments and I play each instrument as a separate entity interacting with the other.
On performing with women musicians
I have performed with many top women musicians like Pandita Girija Devi, Dhondutai Kulkarni, Vidushi Veena Sahasrabuddhe, Dr N Rajam,, Manju Mehta and others and have enjoyed a different kind of camaraderie and appreciation from them.
On what keeps her fit for long hours of performance
My formula is simple. It is good thoughts, respect for others, riyaaz, humility and yoga that keep me going and fit.
On Stree Shakti, her all women band
I founded Stree Shakti to reflect the emergence of woman power in the traditionally male dominated field of Indian rhythm. Last year celebrating its 20th anniversary, we toured Hungary, Croatia, Serbia and the UK taking across India’s message of women empowerment.
Recently. we performed a special anthem ‘Khud Ko Tu Pehchan De’, to inspire women to enable themselves through education fight against discrimination and social evils plaguing our society for centuries. It gives a clarion call to rise and unite.
