Classically Shubha Mudgal

If you credit Shubha Mudgal for mellifluously traversing between Hindustani classical and pop singing, be assured that the musical titan won’t be on the same page as you. “Not all classical musicians are orthodox. In fact, every artiste experiments and explores. So, I can’t take any credit for being the only one to do so,” she says. Shubha is currently handling the duties of curating music for the second edition of Serendipity Arts Festival (to be held in Goa from December 15-22), which will have a line-up of music, dance, theatre, visual arts, and culinary arts, along with addressing issues such as arts education, patronage culture, interdisciplinary discourse, and accessibility of the arts. The vocalist, educator, and researcher believes that one needs such festivals to showcase and celebrate art.  

What led you to the festival?

An invitation from the Serendipity Arts Trust asking if I would consider being one of the music curators for the Festival is what started my association with them. I’ve been a music curator in 2016 and 2017.

Tell us more about your role as a curator...

For this year, I’ve curated the Sonic City Sound Installation, River Raag where you can take a ride down the Mandovi River while you listen to some great music, baithaks or chamber concerts featuring various artistes. There’s also the Serendipity Music Podcast that celebrates the diversity of Indian music.

Other than the fest, any singles coming up?

I feel a bit hesitant declaring this, but I’ve been writing my own songs of late and should be able to share one soon. I think it’s a great idea to release a single track. The experience gives you the opportunity to learn a lot—about your own music-making and the process of recording and publishing and distributing.

In spite of a classical background, you’re known for pop songs like Mann Ke Manjeere, Ab Ke Sawan, etc.What makes you experiment?

My upbringing at home with music-loving parents and the tutelage under my gurus, who were keenly interested in different styles and forms of music, meant that I inherited from them a curiosity and love for diverse forms of music. When gurus are experimenters, it’s not surprising that their shishyas decide to follow in their footsteps.

Whom do you look up to for being keen experimenters?

Since I am a student of Hindustani classical music, perhaps I could mention some of the pathbreakers who experimented and set impossibly high standards of brilliance and genius. For me, some of the most iconic names in this category would be Pandit Kumar Gandharva, Ustad Amir Khan, and Ustad Bade Ghulam Ali Khan.

You’ve always been vocal about royalty for artistes, where do you see it heading?

I believe that artistes will have to dig their heels in and stand up for their rights, and only then will they get their due. Expecting royalties to fall into their laps without a struggle would be futile.

Musically, what are your interactions with your son Dhaval who’s an alternative artiste?

We play music to each other, we listen to music and talk about it, even disagree about our preferences at times. Fortunately, we are both democratic, so we don’t impose our choices on each other.