'The idea of music is to create an empathetic connection between the artist and audience'

As springtime beats its drums, Chaiti brings forth another musical ensemble that guarantees a celebration of sound, rhythm and a symphony of vibrant melodies.

The Shanghai-based arts and cultural organization has been singularly responsible for introducing Indian classical and folk music to China for over a decade. The participation of locals in its many programs and workshops indicates a degree of success in their initiatives on the Chinese mainland.

This year, Chaiti is presenting two award-winning musicians — Purbayan Chatterjee on the sitar (a plucked stringed instrument) and Rakesh Chaurasia on the emotive flute. They will be backed on the stage by Bivakar Choudhury on tabla (a set of two drums), Debashish Adhikary on Indian harmonium (also known as a hand-pumped reed organ) and Murali Ganesh on mridangam (percussion).

Chatterjee’s initiation into the world of music began at an early age when he started taking sitar lessons from his father. Originally from Kolkata, eastern India, Chatterjee began giving public performances at the age of 9, and by the time he turned 15, he had already secured the prestigious President of India Award.

Yet, it was jazz that captivated him most, even as accolades continued to pour in. Defying tradition, he broke free from the rigidity of Indian classical music and collaborated with the Shastriya Syndicate, a trailblazing Indian classical band with a contemporary twist.

Chatterjee explored alternative music and pushed the boundaries by blending diverse genres, amassing an impressive track record of successful fusion projects throughout this time. He envisions music as a universal thread — “language beyond borders” — with the stated goal of seeking a deep, timeless connection with his audience.

That vision has taken him on a remarkable journey across the world, gracing stages from Queen Elizabeth Hall in London to the Sydney Opera House, the Adelaide Festival Centre and Salle Gaveau in Paris. He has also been a part of historic festivals like Roskilde in Denmark, OzAsia in Australia and Traumzeit in Germany, and performing at nearly every major music festival in India.

In an e-mail interview with Shanghai Daily, Chatterjee discussed how to engage the audience and the significance of preserving the essence of the raga (a melodic structure like a Western scale or mode) while adopting a more flexible approach to its structure.

Q: Unlike in the West, Indian classical music is relatively new to China. How do you deal with an audience like this?

A: The idea of music or any form of art for that matter is to create an empathetic connection between the artist and audience. Art is born from the artist’s primal and innate need to express emotions, which are often universal and quite empirical. In the context of music, melody, rhythm and harmony are the three axes. I believe that if these three are in good balance, you can appeal to an audience anywhere in the world. The key is to keep the format structure easy and accessible.

Q: How would you define Indian “classical” music to a Chinese/foreign audience? I stress on the word “classical” because some Hindi songs have been popular here.

A: I think that to put it in a nutshell, one has to say that Indian music is based on ragas. Ragas are akin to Western modes. The word “classical” is often taken to mean a structure that is rigid and not open to interpretation. Therefore, when I take the music of India to foreign audiences, I focus on the spirit of the raga and less on the rigidity of structure. I believe that attractive phrasing is the key ... just like in literature, there are 10 ways of saying the same thing. Often the simplest and most direct one endures. Like with everything else, there is a generation gap in music, which can be breached by keeping oneself up-to-date with modern sounds. Which is why I shall be bringing along an acoustic set; I shall be bringing an electric set to China too.

Q: Do you have any set programs in mind to perform here?

A: I will be curating a set list, keeping in mind that the spirit of the raga remains alive. Simultaneously, the audience is given the raga-based content in crisp, bite-size portions ...

Q: Indian music has a vast range of instruments. What prompted you to take up the sitar? Do you also play other instruments as well?

A: I have been asked this question many times, and the simple answer is that my dad chose this instrument for me when I was all of 4 years old, so I cannot say that I have too much credit in this choice. By the time I was informed enough to make conscious decisions, I had so much of a head start in this instrument that I was inclined not to look elsewhere.

Q: Do you usually interact with your audience? Do you remember any particular incident that you can relate?

A: I do like to interact with my audience. Like painting, the picture of the raga is like telling a story, and often in a few words, and analogies and metaphors help in driving home the message. I remember that from many years ago, there was a small kid who was about 7 years old, and he had come to see a performance of me with the legendary Pandit Kumar Bose on the tabla. Kumarji, in the most charming manner, asked the kid if he liked the performance, to which he said yes. When he proceeded to ask him if he would like to learn the tabla, the kid curtly said: “No, thank you.” This little anecdote often brings a smile to my face.

Chaiti Arts Festival

Date: March 29, 7:30-9pm

Venue: Shanghai Center

Address: 1376 Nanjing Road W.