(from page 7 of Chennai Times dated 8-Jan-2010. Available in Timesofindia
Epaper)
A different tune What’s Hot talks to Kavita Baliga, who teaches western
classical music at AR Rahman’s music conservatory…
How did you come to be involved with AR Rahman’s music conservatory?
I
speak Konkani. Every couple of years, the Konkani Association of
California organises cultural conventions which are attended by
Konkanis from all over North America. These programmes are aimed at
promoting Konkani/Indian culture among second-generation Konkanis.
During one such convention, they had invited ‘Guitar’ Prasanna to
perform. After the convention, Prasanna left for Chennai where he met A
R Rahman who told him that they were looking for a western voice
teacher. Prasanna recommended me for the position and a week-and-a-half
later, I was in India! Has teaching always been a passion? At first, I thought
teaching would be an interim activity and that my real focus would be on
performing. Now that I’m teaching full-time, I’m realising how much I love it
and how incredibly fulfilling it is to give a part of yourself to others and
see them take it and flourish with it.Teaching music is not like teaching maths
or science. It is much more abstract and requires a lot of self-awareness, a
good voice, and a good ear. I love the fact that we are bringing something to
India that hasn’t really existed here before.That, by itself, motivates me. How
would you rate the awareness level of Indian youngsters with respect to western
classical music? Oh, there’s absolutely zero awareness. Almost 99 per cent of
my students had no prior exposure to western classical music. Not only
that, most of them had never even heard of the genres involved within
that title. For example, if I mentioned the words ‘Opera’ or ‘Lieder’,
my students would draw a blank. The only western music these students
had heard before was what we call American bubblegum pop.
How did you become a part of Passage? Could you share your experiences of
working with Shekar Kapur?
I
worked directly with AR on the aria for Passage. I met Shekar much
later, at one of the rehearsals for my performance at the premiere of
the film in Venice. I don’t know him well, but I absolutely loved what
little I saw of him. He seemed totally and utterly incapable of small
talk and was constantly speaking in abstracts! I’m uncomfortable and
awkward with small talk myself. So, it was a welcome surprise. It’s so
refreshing to have real conversations with people.
How do you manage to find time for other creative arts as well?
I
absolutely love working like hell. I love being busy and seeing the
fruits of my labour. The arts are like a form of meditation for me.
They keep me sane. I feel calm as I go into a zone when I’m singing,
taking pictures, painting, or even cooking. I love the fact that when
I’m doing these things, my mind can just go blank.
HEART-TO-HEART: Kavita Baliga
WORKING WITH RAHMAN
His
style of working is not nearly as rigid as most western composers.
First of all, he doesn’t put anything down on paper. Most of the time,
he plays me something or
sings me something and asks me to repeat it, and just directs me as we
go along. When I worked with him, I found myself suggesting things and
then thinking, ‘Wait, should I be doing that? Am I way out of line
right now?’ But he truly makes you feel as if you’re collaborating on
the project, not as if you’re working for him. And that was the case
before as well as after he won the Oscar. I think that is truly unique
for someone in his position.
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