Pakistani singing star Khan excited to be making his HK debut

It’s shaping up to be a great year for music lovers with yet another international artist coming to town. Rahat Fateh Ali Khan, 37, one of Pakistan’s best-known singers, will perform with his troupe at the Convention and Exhibition Centre next Friday. [Mar 9].

“I’m very excited to sing in Hong Kong for the first time ever,” Khan said. “It’s always a pleasure to sing to a new audience. Music is the only thing that unites us, brings us together. It’s in our blood; it’s in our soul. When I see an international audience hear our music, when they don’t understand a word, then you know there’s more to it than meets the ear.”

Nephew of the legendary singer Nusrat Fateh Ali Khan, who lent his voice to the Oscar-winning film Dead Man Walking, the young Khan comes from a house filled with music. Sine Khan had no son of his own, Rahat was deemed heir-apparent to the legendary household, continuing a legacy of singers than spans back 600 years. On YouTube, there is a 12-year-old Nusrat singing a love song at a concert with his famed uncle.

“If you teach a child to sing Twinkle, twinkle little star, do they really understand what they’re saying?” he said with a laugh. “It was just the same with me. I sang a love song, comparing a beautiful woman to a rose. The words were given, the tune was given, and I sang it. I didn’t know what I was singing about until years later.”

Tickets are priced from HK$300 to HK$2,000 and available through HK Ticketing

P. Ramakrishnan
(ramakrishnanp @ hotmail. com)

Aasha Bhosle: The Essence of Star Power

Indian singing legend credits her great success to a strong work ethic writes P.Ramakrishnan.

As if singer Asha Bhosle wasn't legendary enough - and we don't use the term lightly - she received some extra heavy metal for her overcrowded trophy room this month. Not only was she honoured at the 10th Pune International Film Festival for her "outstanding contribution to Indian cinema", but the Mumbai media house, Screen, also presented her with a lifetime achievement award.

Bhosle, 78, has at least 31 other such similar felicitations, including a Grammy nomination and a BBC lifetime achievement award (presented by then British prime minister Tony Blair in 2002). So when Bhosle herself is asked how many trophies line her cabinets, she sounds genuinely perplexed.

"I have no idea," she says, laughing, and turning to ask her son, Anand: "Do you know how many? Well, the most memorable awards were the national awards given to me by the president of India [in 1981, 1986 and a Padma Vibhushan award, the second highest civilian award, granted by President Pratibha Patil in 2008]. The rest, well, it's nice to be mentioned.

"But I have to confess one thing: everything came late to me in life."

Bhosle's achievements are ever-more remarkable as the younger sibling to India's "nightingale", Lata Mangeshkar. Two legendary singers born to the same household, mellifluous careers mired in mumblings of who's better. "I received everything 20 years after it was due to me - fame, recognition, awards," she says. "And the other half of my life got lost in the pointless conversation about who was better: me or my elder sister."

Like the rivalry between operatic divas Maria Callas and Renata Tebaldi, with loyalties divided by fanatics, composers and producers, the rivalry between the Mangeshkar siblings has filled pages of Indian print since the 1940s. But it's an issue Bhosle refuses to address today, after years of supposed musical riffs and rifts. "I respect and love my sister. We meet for every family function. What others say, who is bothered?"

If it's hard to pinpoint who's greater, it's easier to note who has sung more. A few months ago, Guinness World Records officially acknowledged Bhosle as the most recorded artist in the history of music. She was awarded a certificate for "the most studio recordings [singles] for recording up to 11,000 solo, duet and chorus-backed songs and in over 20 Indian languages since 1947".

And Bhosle is still upping the record, as she's in the studio often and tours annually. Clad in her trademark sparkling saris, her hair pinned in a matriarchal bun, her arms and neck festooned with diamonds and pearls, the grandmother of five will be hitting the stage in Hong Kong on February 23 at the Cultural Centre.

Bhosle has performed with artists ranging from Nelly Furtado to Boy George, and even collaborated with boy band Code Red in the 1990s. While some of the names have faded into irrelevance, Bhosle's spotlight hasn't dimmed. She remains one of India's highest-paid singers and the nation's current crop of singing stars literally bow when she walks into a room. Think of Aretha Franklin in a sari, with a strong adherence to traditional Indian values.

Bhosle has sung cabaret songs, classical music, pop, disco and devotional songs in different languages - her vast repertoire performed with a vocal prowess of three octaves.

Why her singing contemporaries' voices have wilted with time while she remains a force to be reckoned with is no mystery. "Perhaps it's because I work just as hard now as when I started," she says. "I haven't forgotten the days of struggle. I know it takes 100 paisa to make a rupee. For years, I travelled great distances on foot and train from home to the studio. For the longest time, I made about 100 rupees [HK$15.30 today] a month. I remember the day I got 2,000 rupees for a recording. It was like I'd won the lottery.

"Today's singers get on a reality show and make hundreds of thousands a year. I have no issue with that, but what kind of fame is it? They still sing our old songs ... They have to make it on their own merit, not as pale imitations. Temporary fame is fleeting."

When asked who she likes among the current crop of singers, Bhosle politely evades the question. "I have no time to listen to [new] songs," she says. "I'm so busy recording or doing TV shows [judging musical reality shows in Mumbai] or on tour. But when travelling, I listen to the old songs. And keeping aside all the politics, I often listen to Pakistani poets and singers, such as Ghulam Ali and Rahat Fateh Ali Khan."

Bhosle strikes an elegiac note when she reminisces about her recordings with other singers from the 1950s and '60s - Kishore Kumar ("Who was the funniest person I've ever met and one of the most gifted"), Mohammed Rafi ("the greatest vocal range and a kind man") and Mukesh ("the perfect gentleman. They say you can't be a good singer if you're not a good person - well, he was a great singer and a greater person").

The current work ethic has changed, as well. "We had a full orchestra and had to perfect a song in one take," Bhosle says. "There were days of rehearsals. If there was a minor error or wrong note, we had to start all over again. And, for the most part, we all got along, as there had to be camaraderie among the musicians. We worked long, long hours. Today, well, you'll be surprised to know that often my so-called duets were recorded in one country, my co-singer in another, and it's all mixed together. And auto-tune, it's the funniest thing I've seen. We're now in an era where you don't have to be a remotely competent singer to sing."

This will be her third concert in Hong Kong, and her memories of the city reflect those of many other tourists.

"I went to Hong Kong in 1986 and in 1989 for shows at Queen Elizabeth Stadium. I remember shopping in Hong Kong after my shows, getting chiffon saris, things for my three children. I don't remember much else. At this age, my interest in shopping has gone, but music hasn't left me, and I haven't left music."

Eternal Asha, Feb 23, 8pm, Concert Hall, Cultural Centre, Tsim Sha Tsui, HK$300-HK$1,200, Urbtix. Inquiries: 6019 0621

P. Ramakrishnan
ramakrishnanp@hotmail.com
Jan 29, 2012


Pic Caption: An Indian national treasure, Asha Bhosle has been entertaining with her records and live shows for decades.

My life: Sunidhi Chauhan: Indian Singer rocks Hong Kong

Having kicked off her Asian tour in Hong Kong, one of India's most prolific singers talks to P.Ramakrishnan about her musical heroes. Pictures by Douglas Pieterse.

SMALL STEPS

I was five years old [when] my dad’s friend said to him, “There’s a show for the local community [in Delhi], let her go up on stage and sing. It’ll be cute. She’s so little - people will love it”. At first my father didn’t agree. Then he said fine and he knelt down on his knees, said to me, right before the show, “Go right there in the middle of the stage, sing your song to the mic, and then come back.” That’s exactly what I did. I didn’t notice the applause, see the audience (the stage lights were too bright). There was no fear. I liked to sing but which child doesn’t? I had no concept of whether I was good or not.

But after that show, people kept going up to my parents to say, “You’ve got something here, she can really sing. You must pay attention to it”. Since then, I’ve been singing on stages, small and big. And I’ve never been in awe of performing. Because my first experience was so casual and matter-of-fact - go to the centre, sing, come back, that’s the approach I took for years after. Other singers moved and danced along. I was painfully shy, finally at one show, I started moving along and dancing a bit to the song, I started enjoying the experience of being on stage, years later.

FANATICAL BEHAVIOUR

The only time I slightly panicked was at Hisar (a small state in North India). There were around 100,000 people there and I was the only singer with my troupe of musicians. They wanted to hear the song “Beedi”, which was a rage that year. I usually save it for the finale, as it leaves an impact, but the people started chanting for that song. It kept getting louder, so I finally told my background musicians, lets change it up and for the fifth song, I started singing the intro to the song. The crowd went wild – they torpedoed towards the stage, broke the barricades. It was manic. Thank God we had cops and security, I was escorted out – the show ended right there. I’ve never seen that kind of frenzy for anything. I don’t know how I feel about it, happy they loved the song or in alarmed at the reaction.


HITS AND MISSES

I can never really tell when a song’s going to be a hit or a flop. When I sang “Dhoom”, it was for a film with a cast that wasn’t that famous (at the time), it became a rage. In India, if the film is a hit, the song becomes a hit, I mostly sing for films so if its well picturised on a lead actress, the chances of it becoming a rage is stronger. But times are changing with music videos focusing on singers, with reality TV appearances, singers are more recognizable, a song can run on its own merit.

I love to sing soft, melodic, romantic numbers, but I keep getting the pop hits that you hear in clubs everywhere. Not that I’m complaining, but I do love to sing every genre of song. I have no favourite music director or co-singer, I genuinely like them all. From [Oscar winner] A.R. Rehman, who’s the most humble, soft-spoken soul I’ve met in the industry, to the newcomer music directors or co-singers. I have no qualms about singing for anybody, with anybody.


LEARNING TO LET GO

Politics in the music industry in Bollywood’s there. There’s no denying it – although I try to block it out. There have been instances, when I’ve sung a song, recorded it for a film… and then months later, I can see/hear that some other singer’s done the version on the album. I don’t know what happens behind the scenes, you hear things, but I’ve learnt to let it go. I feel, it’s their loss.

The tabloids in India are part and parcel of the game. It really doesn’t bother me what they say or write. A major film magazine wrote that I was dying to get married and settle down – none of that was true. They make up entire features and interviews and I’ve never thought of suing them. The headache of long legal processes, who has the time? I’m recording songs for multiple films, have concerts around the world, music-videos to shoot, I’m judging on reality tv shows, where’s the time, money, energy to waste on the rubbish they print?


REAL LIFE

Joining Indian Idol as a judge has been wonderful. I’ve had so much fun and its great to encourage and support the new generation of singers. I don’t see them as competition. There are over a billion Indians, more than 400 films made each year, most of them musicals, there’s room for every singer, I feel anyone can sing and I love to hear that I’ve inspired the newcomers. It means a lot to me. I must confess, I love the bad singers too. That part’s the most fun – the auditions with the tone deaf. The delusional ones make for great television viewing and I’m always sad when the audition process is done. It gets serious very quickly, the funny parts end.

Reality TV shows get a lot of flack, but how can I possibly say anything against it? It launched off my career. There’s a youtube clip of me online when I first won Meri Awaaz Suno [Listen to my Voice], which was one of the original reality show on National Indian television. I was 10 or 11… competing with other singers who were older, trained and I think most were in college or had professional careers. I’m wearing a ribbon in my hair, a brown knee-length skirt. I sang a classic song Tu Chanda [You’re the Moon], which was originally sung by Lata Mangeshkar – who was the head judge at the finale. My idol, my world, when I won the competition, I had to go up and receive the trophy from her, the living legend… and I burst out crying. Winning the competition or the cheque or the contract to sing for a studio didn’t mean as much then as being blessed by Lataji. She’s a goddess. The petite, 70-year-old (at the time) Goddess gave me a warm hug and it meant the world to me. When I see it now, I still get gooseflesh. That moment changed by life.


CELINE, WHITNEY, LATA AND AASHA

There was no formal training, no in-born passion to be a singer, I never thought like that. I liked singing, I would listen to tapes of legendary Indian singers like Lata Mangeshkar, Aasha Bhosle and mimic what they sing. I’d play the audio tape of the film Lekin, again and again, and emulate the Mangeshkar sisters who sang in the album. Celine Dion, Mariah Carey and Whitney Houston are other singers that inspire me. The control of their voice as they reach high octaves, the passion they exude when they sing is great. I love Jennifer Lopez too, her music videos, her fashion, her dancing. The singing.. well, I love her. Can I leave it at that? [She giggles].


I used to mimic Lata Mangeshkar, Aasha Bhosle, and I can mimic other singers and actresses too. I used to perform it as an act in my shows, until too many people… fans of theirs started getting offended. My intention wasn’t to hurt anyone, make fun of them, but people took it wrong. So I’ve stopped. I’m not here to hurt anyone, just want them to enjoy music, so I used to copy their styles. Now, I have a huge catalogue of my own songs – I have no idea how many? 2000? Maybe more.


Working with Enrique Iglesisas was wonderful. I wanted to collaborate with other singers and when this opportunity came up, I grabbed it. He’s so humble, so enthusiastic about music. The bigger the star, the more humble they’ve been. We recorded the song partly in LA and part in Mumbai – the music video was also shot in LA and some parts in India, this fusion of styles. The original idea was different and how its come out is different, but collaborations evolve and grow. I feel it’s a first step for what’s ahead.

ENCORE ENCORE

Last time I came to Hong Kong [five years ago], I performed with one of my favourite co-singers KK. We had a blast of a time, the audience was amazing. Last night, even more so. The show was brilliant, I loved the fact people got up and danced on the aisles. At first, the audience seemed shy to move, but by the fourth song, they got into it. The requests for encores were wonderful. Awards, money, fame… nothing beats a great audience reaction.

Interview courtesy of Jade Group.

Outtakes from shoot.
All images Copyright Douglas Pieterse.

Phir Dhamaal in Hong Kong

Fun on the Run

This weekend, six police-boats chased a large junk ship and several boats swirled around Victoria Harbor in a flurry of lights and sirens. A goateed man was saved from drowning as another jumped in to rescue him. A drug bust or a refugee boat capsize?

Neither! Just the climax of the Indian comedy “Phir Dhamaal” [More Fun] went underway off Wanchai and Central pier as an all ensemble cast of Indian actors Ashish Chowdhry, Arshad Warsi, Javed Jaffery, Kangna Renaut and Ritesh Deshmukh hit Hong Kong.

Director Indra Kumar, along with film producer Ashok Thakeria, and a film crew of 80 members from the largest film industry in the world – Bollywood - have been in the city for the past week shooting the finale of their upcoming summer release “Phir Dhamaal”, a sequel to its 2007 predecessor “Dhamaal”[Fun].

Said actor Ashish Choudhry, “It’s been the most hectic week of our life and working in Hong Kong has been brilliant. The weather was really good to us this week!”

Actor Ritesh Deshmukh chimed in, “It’s been really tiring, we shot from 10am till 4am the following day for the last scene, a few hours sleep and we’re off to Mumbai to shoot three of the songs that are left.”

Comedian Arshad Warsi has the unpleasant task of jumping off the pier in Wan Chai into Victoria Harbour, “The water was ok,” he said of his big rescue scene in the film. “I was given loads of warnings beforehand of the pollution and I did see some garbage floating around. When I land in Mumbai I’m going to pop every pill to boost my immune system. There’s no business like show business.”

Said one of the Hong Kong film crew, “When Batman [The Dark Knight] was shot here [in 2009], the water didn’t pass muster with the insurance company as they found too much bacteria in the harbour. So they cancelled those scenes.”

Was the Indian film crew similarly insured up?

“We had a dingy boat on standby. That’s about it,” said Deshmukh without a hint of worry. “Besides, stomach of steel dude. We’re all ok,” he said. “So far.”


















Cast of Phir Dhamaal in Hong Kong. Shoot with the uber cool Ike. Above pics by me!

Indian actors Arshad Warsi (boat!), Ritesh Deshmukh (blue denims) and Ashish Chowdhary (brown shirt). Director Indra Kumar (last shot in black T).

Many thanks to the rockin' ladies of Jade Group!

One Night Only: The Voice of Bollywood

Singer Sunidhi Chauhan may not be the most recognised face in Bollywood, but she's certainly the voice of it. “I have no idea how many songs I’ve sung for Hindi films,” she says, hours before she hits the stage in Hong Kong for a one-off concert at the Hong Kong Polytechnic University. “Hundreds, thousands? I don’t know. I’ve been very fortunate.”

As a playback singer to all the A-list actresses of Indian cinema (when those gorgeous Miss Worlds and Miss Universes break into song and dance on film, it’s the gorgeous voice of Chauhan that they are all lip-syncing to), she's had an incredible year already with the song “Sheila ki jawani” hovering between the No:1 and No:2 spots for the past six months.

In fact, Chauhan’s high octaves span up and down the hit-list often and she’s been nominated a whopping 14 times at Filmfare awards (the Indian equivalent of the Oscars) for Best Singer, having won three times. 

“I don’t judge the success of a song by an award or recognition – though I’m thrilled when I do get it – but when I go to any club or party, if they’re playing my song, I know it’s a hit.”

Last when she was in Hong Kong (back in 2006), for a concert, she said, she'd love to collaborate with Western singers. This year, a dream came true.

"Working with Enrique Iglesisas was wonderful,” she gushes, having collaborated with the Latin heartthrob for his upcoming album Euphoria. “I was excited to work with Enrique, he was pretty kicked about working with an Indian artist for the first time. We both gelled well and the song too came out great — I think it was a great combination.”

As Chauhan sings alongside the sitar, tabla and flute, merging traditional Indian song to Iglesias’ pop and club tunes, she has high hopes for this musical fusion. “When I was approached for the collaboration, there was no question of giving it a second thought, I was too excited about it.”

Catch the excitement tonight for Sunidhi Chauhan’s sole, solo show.

Sunidhi, Live in Hong Kong
Jockey Club Auditorium,
The Hong Kong Polytechnic University, Hung Hom
Monday, April 04, 8:00 pm
Tickets: $500-1000
www.jadegroupasia.com

Text: P.Ramakrishnan
All images: Douglas Pieterse

Shaan of India: Young Singer Shines among New Gen: To Perform live in Hong Kong

Shaan will feature on the soundtracks of all of this year's big Bollywood films, but P.Ramakrishnan finds him unexpectedly modest.

When reminded of his first encounter with fame, Indian singer Shaan bursts out laughing. The 35-year old performer, born Shantanu Mukherjee, was appearing on television with his indie-pop group Oorja back in the early 1990s when a gaggle of female fans tried to grab his vest.

"Surely you're confusing me with someone else,"he says. "Girls have never been that interested in me. I was never cool."

His ever-present smile and long hair (shorn since he got married) seem to have ensured that he would attract teen fans, but Shaan feigns ignorance. "That wasn't me. I've never been a heart-throb."

Shaan, who will perform in Hong Kong next week, was born into a musical family. His father was music director Manas Mukherjee and his sister Sagarika is also a singer. He started singing jingles and trying to make it as an independent singer without joining the ranks of behind-the-scenes Bollywood playback singers.

"We wanted to be a pop group, but it never took off," he says. "The first album did relatively well, but the Indian pop scene is nowhere as strong as Bollywood film albums. I sang for a few films - not the big-budget ones, but smaller movies with new casts. Although the films didn't do brilliantly, the music did. And somehow I kept getting calls to sing for Hindi films."

Having won just about every award for best male playback singer for last year's song Subhaan Allah, from the film Fanaa, Shaan's career is now rock solid. As the host of a reality TV show, he's better known than most of his contemporaries. His appearances on TV and in film ("which I did for a lark - and never again!") haven't dulled his desire to remain a singer.

"I love singing in stage shows for the reaction - you know what the audience likes and what's popular," he says. "I mostly sing for a younger crowd as the music that's in clubs today - the film songs - cater to youth. But at the same time I also love to sing old numbers with great lyrics and melodies.

Despite appearing in front of a live audience every week for his television show, Shaan says he doesn't get nervous. "I've heard of singers who don't speak for 24 hours before they go on stage to save their voices, or don't sit near air-conditioning, or have strange diets. But if I had to not speak for a day, I'd go mad.

"I pray that I didn't get a cold or a cough on concert nights, but somehow I always pull through. I guess I'm lucky"

What's been his most memorable performance? "Years ago, I was on a stage somewhere and a gun was shot in the audience. I have to wear specs, I have poor eyesight, but I don't when I go on stage - so I had no idea what was going on and I kept singing. A bullet was fired somewhere. I thought it was part of the act by the producers and I kept going. With the stage lights and without my glasses, I couldn't see anything and kept thinking, "Well, the show must go on."

Shaan has landed work singing for nearly all the major Indian films in the coming year, and he's booked for concerts throughout Asia, the US and Britain.

He has been voted one of India's most popular singers by his peers, and never appears in the tabloids.

"That has more to do with the times than me," he says. "Gone are the old days when singers were constantly competing against each other. Now, there are hundreds of films being made and thousands of songs to be sung. There's work for everyone. So why bother back-biting and bitching?

"It isn't just me. My contemporaries feel the same way. We all steer clear of controversy and fights in print."

Shaan has just one complaint about the music scene. "I do wish singers were a bit better trained. I can always tell a good singer from a great one, when they've studied music, learned the craft and their voices aren't as scratchy or they don't break when they hit the high notes."

His own vocal range is wide, and he performs love songs, rock'n roll and melancholy numbers with equal ease.

"May be there's a trend towards a variety of voices, so the new generation craves a different sound - and I'm fine with that," he says. "But with strange videos and technological inputs, there's little actual singing involved."

Thursday, August 23, 2007

Bollywood voice Powers way to the Top: Extraordinary Singer Sunidhi Chauhan's First Concert in Hong Kong

At 23, Sunidhi Chauhan dominates the Indian charts. Now, her sights are set on the west, writes P.Ramakrishnan.

Long before American Idol, 11-year old Sunidhi Chauhan was shooting to fame on a nationally televised singing competition in Mumbai called Meri Awaaz Suno (Listen to My Voice).

Chauhan, now one of India's most popular singers, won the competition easily. That led to a recording contract with HMV (India) and a spot on the soundtrack to the 1996 film Shastra (Weapon). But then came the lull. "Success didn't come easily and I had to wait," she says. "Then I got the chance to sing the title song of the film Mast [in 1999]. But if a film doesn't do well, the songs can
get lost.

"The movie didn't do well, my voice was changing, I wasn't mature enough, things didn't pick up immediately. Years later, three of the tracks in Mast hit the charts and I've never looked back. But there were years in between when I just did one or two songs. Now I'm in a recording studio every week."

Now 23, and with an unprecedented 11 No 1 songs on Indian charts last year, Chauhan is unquestionably Bollywood's top female playback singer - who provides the vocals that are mimed by actors.

"Singers hope for at least one or two songs a year that will hit the charts and stay there. You can't trust sales figures or what radio shows say is in. Go to any party or club - is the song being played? That's the true mark. I'm blessed because a dozen of my songs have been hits, and not just in India."

Chauhan is an Indian Mariah Carey, Christina Aguilera and Diana Krall rolled into one feisty package, and her powerful vocals can be heard in almost every Indi-pop-bhangra club.

"My career is what it is because of the big jazzy, pop numbers, but I prefer to sing love songs. I enjoy soft numbers with good lyrics more than the chartbusters."

Like most singers, Chauhan listens to herself rarely. During the interview the strains of British jazz-funk band Incognito drift in the background. "I also love Billie Holiday. I listen to her a lot. One day I hope to cut an English album," she says.

"When I think of Indian artists who've recorded English songs, I think it hasn't emigrated well because the words don't strike a chord, even if the music is good. My interest in western music has always been there. It would be a dream come true to go into a music store anywhere in the world and find an Indian CD sitting alongside Celine Dion or Whitney Houston."

Chauhan now performs about 12 concerts per year around the world. She first came to Hong Kong several years ago as a back-up singer for Indian stars. "But this will be my first solo show in Hong Kong. I'm really looking forward to it, even though I'm visiting for just one day."


Thursday, April 27, 2006

Much Ado about the Meaning of Nothing: Indian Play to be Staged in Hong Kong: Interview with Lillete Dubey

Martial arts meets philosophy in Lillete Dubey's play about the life of Bodidharma, writes P.Ramakrishnan.

For many people, Lillete Dubey is the international face of Indian cinema, thanks to Mira Nair's Monsoon Wedding and Vanity Fair.

A noted wit off stage and on, her appearances in films, including some memorable Bollywood roles, have given her international recognition.

"Someone mentioned that I'm in every other film and I was quite taken aback," Dubey says. "I've done about six or seven Hindi and three English films in the last two years. How is that every other film?

"It just so happens that the movies were high-profile stuff. They weren't all box-office hits, but the independent films like My Brother Nikhil [about Aids] and Morning Raga [about the death of a classical singer's son] made a lot of news. I just can't be part of any old rubbish."

Dubey has long been associated with some of the best plays from India, including Dance Like a Man, which she directed and acted in.

In Mumbai, as her driver races through the rain to drop her at a movie set ("guest appearance darling, I can't be the lead at this stage"), Dubey is enthusiastic about taking her latest English play, Zen Katha, outside India - starting in Hong Kong this weekend.

"Theatre is my true love," she says. "I'll never leave it and I'm so excited about bringing the play to Hong Kong. Thematically, so much of it is relevant in that part of the world. the story was told to me by writer Pratap Sharma, I was keen to direct this on stage."

Zen Katha traces the story of Dharma, a Pallava Indian prince, recounting his journey from India to the Chinese court in 525AD. Through his tumultuous adventures, including an encounter with Emperor Wu Ti, the peace-loving Brahmin prince-turned-monk founded martial arts and the philosophy of Zen at a Shaolin monastery.

"I was fascinated because its part of our historical legacy," Dubey says. "The founder of Zen and martial arts - all the kung fu, tai chi and everything - can be traced to Maha Malappuram, which literally translates as the city of great wrestlers. It's a part of Indian history that little is known about.

"Bodidharma was originally known as Dharma. When he was prematurely born he was sentenced to death. Born weak, blue in the face, he was thought to be a disgrace by his father, the king who wanted only fighters as sons.

"But a Hindu priest begged the king to hand over the child to him. The priest taught pranaya, yogic breathing skills, and taught him kallaripayattu, a martial art, to gain strength.

"This first part of his life in India, before he headed off to Canton, fell into place as the first act of the play. He left through the Himalayas to learn martial arts that would enable him to fight faster than breath, faster than thought."

The second act unfolds across the borders as Dharma attempts to better himself. "It reveals what happened after he met Emperor Wu, who was surrounded in court by yes-men and sycophants," says Dubey. "The ruler was an extremely pious man, and the monk annoyed him terribly. The king wanted to know how he'd be rewarded in the after life. The monk said nothing. His answer to everything was nothing. The concept of nothingness, Zen, infuriated the king and the monk had to flee."

Writing and research took the theatre production team that Dubey founded in 1991 years. "The very word Zen is derived from Dhyaan - meditation, sharp focus. When you're fighting or mediating, there must be focus."

The multicultural play posed multiple challenges, from casting to tightening the script while preserving the epic nature of the story. "It's a very visual production," Dubey says. "So, my actors had to learn martial arts for months - but just the basics."

Will Hong Kong audiences be treated to high-level martial arts? "They perform some," she says. "But they're actors who play martial artists. The audience isn't going to see the fireworks they might be accustomed to. But our sensei, who taught them the basics, wasn't shy in his praise."

Sunday, September 25, 2005

Musicians without Borders: Indian and Pakistani legends unite on stage in Hong Kong

Two performers from India and Pakistan with the gift of ghazal are getting together for a one-off concert, finds P.Ramakrishnan.

The tensions between India and Pakistan may be palpable at times, but when it comes to creative collaborations, the countries have never had it so good. Numerous musicians have featured in Hindi films during the past two years, and singers, comedians, writers, lyricists and even Pakistani actors have worked in Bollywood. Such cross-border cultural harmony may seem extraordinary, but Indian singer Talat Aziz begs to differ.

"Creative people don't see boundaries and politics," the 50-year-old artist says. "There are many music lovers in India who greatly appreciate the singers and musicians from our neighbouring countries, and producers have invited singers and writers to work with them in India for decades.

"The late Nusrat Fateh Ali Khan flew from Pakistan and sang for filmmaker Raj Kapoor in Delhi in the early 1980s. Similarly, someone like Ghulam Ali is a respected figure among all music lovers, irrespective of their or his origin."

Aziz has collaborated with Karachi-born Ali in joint concerts for several decades. "I've been an admirer and friend for years. I met him nearly 30 years ago. The upcoming concert in Hong Kong is a collaboration - a confluence of harmony that has been long in the making."

The two ghazal singers - each considered among the best in his respective country - will give a one-off concert this Friday at the Hong Kong Polytechnic University.

The ghazal is said to have originated in 10th-century Persian verse, making its way to India in the 12th century. A poetic form of music, it's sung in delicate melodies, with greater emphasis on Urdu words and language than on tempo and beat.

Some consider in to be an elitist form of music, but Ali doesn't agree. "The more youngsters attend, the more they seem to enjoy it. Ghazal isn't elitist. It's not just for those who are well-read. It's for everyone who can enjoy good music."

Ali has performed around the world and has made more than 50 platinum-selling albums during the past three decades. His fan club is mixed. "I've worked with and met many wonderful Indian artists and it has always been a pleasure to collaborate with them, meet them and exchange ideas," he says. "The warmth and love I've received in my concerts abroad, I can't tell you what it means to me."

At the age of 15, Ali became a protege of classical singer Bade Ghulam Ali khan. He was taught by Khan's brothers and trained in classical music for years before he started composing and singing professionally. His compositions are raga-based (traditional melody) and include various innovations.

Aziz, who was born and brought up in Hyderabad, India, learnt classical singing at a young age. He was trained by Ustad Samad Khan and later by Ustad Fayaz Ahmed, then introduced to recording studios by Jagjit Singh.

Although Aziz sang on many private, non-film based albums, he eventually began so-called playback singing for Indian actors. He has also acted in films and television shows - but he says music is his first love.

"There are no rehearsals as such for concerts," says Aziz. "You never know what's going to happen, how we adhere to audience requests, and gauge the mood from their reactions."

From across the border, Ali agrees. "Live shows are a unique experience every time," he says. "I've had requests from audience to sing their favourite song again and again. They never tire of certain classics. Luckily , I enjoy singing old numbers, and popular choices are my own favourites, too."

Aziz is confident that Hong Kong audiences will appreciate ghazals, "Not long ago, I was in Sauddi Arabia for a concert and the audience was a very mixed, international crowd," he says. "The Russian and the Japanese Consulate Generals were attending, with their respective people and entourage. I thought they would stay for a few minutes and then leave. But they stayed till the very end and, although I'm sure they didn't understand a single word that was sung, they came up to me. At the next concert, there were more Russians and Japanese people in the crowd. What does that tell you about music transcending borders?"

Return of the rhythm method

By P.Ramakrishnan


Indian tabla virtuoso Zakir Hussain is looking forward to his return to Hong Kong on Saturday. In 2002 he joined George Brooks' Summit in the New Vision Arts Festival's The King Drummers shows in the city; it was a memorable gig, he says.


'The performance had multiple elements of art all fusing. I had never done anything like that before and haven't since,' he says.

'It was great fun - all the elements of art on a stage: Indian music, the symphony, a few painters who were painting around us while we were performing, with a jazz group and images of jazz legends in the background. It was all happening at the same time and it was truly eclectic.'

Hussain says he is used to such collaborations, having worked with the likes of George Harrison, Joe Henderson, Tito Puente, Van Morrison and the Kodo drummers. Such performances expand his global audiences beyond fans of Indian classical music, the Mumbai-born musician says.

'You know it's funny, when Bollywood movie stars tour, the audience is mostly full of non-resident-Indians awaiting their screen idols and beauties,' Hussain says with a chuckle.

'When we tour in the US, it's a greater mix of western [often more than eastern] audiences. The last time that we performed in New York it was an ocean of westerners and I was looking for the homeland heads through the blinding stage lights. I'm glad that our music is equally well-received by the international crowd,' he says.
Hussain has the pump of percussion in his blood. The son of tabla master Allah Rakha, he grew up in a house filled with music by his father's troupe. From an early age he made his own music by beating pots and still likes to rattle a metal plate, two glasses and a spoon in a spontaneous jig, he says.

'As I heard music all day at home, I believe music can be made with anything, any time, anywhere!' Hussain says.

He started playing the tabla 'as soon as he could reach one', performed his first concert at seven and started touring when he was 12. He says he was 'nearly 13' when he stood in for a musician who was ill and played with his father for the first time on stage.

'You never forget your first performance,' Hussain says of his 'first great moment' under a spotlight. 'I love the improvisational aspect of performing live on stage.'
But not all his early performances went so well.

'When I was 16, I went to play a festival and I was booed off stage!' Hussain says. 'It was strange - the night before was an incredible success. I was the darling of the press, a teen with a following and I could do no wrong. Oh my God, it was thrilling ... and then you get a kick in the butt like that!'

Hussain laughs at the memory but says such setbacks are important life lessons.
'You have to push yourself,' he says. 'It's great to be booed off. It brings you down to earth. Then you start thinking of expanding your repertoire, you have that pressure to improve, to be better than before.'

The boos also remind the children of celebrities that they have to make their own mark, he says.

'There's only so much mercy clapping you'll get [from] an audience,' he says. 'The audience is kind, but patronising only to a certain extent - you'd better be good at the job or they won't care who your father, mother, brother or grandfather is!'
Hussain recalls how he used to sit around discussing music with his father at 3am.

'My dad would have these epiphanies at some late hour and he'd sit with me and go over music,' he says. 'It used to drive my mother up the wall as I'd have school the next day, but late into the night, into the very early morning, we'd discuss raagas, thumri and different beats.'

And Hussain is still exploring different sounds. 'You have to listen to folk music to become aware of what the people are about,' he says. 'You understand that culture a bit better, how they communicate. I listen to folk music of the world, the blues, bluegrass, church music ... Even to understand true Indian music, I prefer to put my ear to the sounds that are closer to the land.'

Hussain doesn't say what's on his iPod, but he seems to sense the rhythm of the global financial meltdown. 'Lately I've been hearing the rumblings and crashes of the stock market,' he says. 'I'm sure the repercussions have hit Hong Kong long before our percussion show.'





Zakir Hussain, Masters Of Percussion, Sat, 7.30pm, Queen Elizabeth Stadium, HK$200-HK$600. Inquiries: 6019 0621 or 9641 8214


Published in South China Morning Post
Sunday October 26 2008

Dancing Queen: Hema Malini: Bollywood Dream Girl in Hong Kong for a Classical Performance

A Bollywood legend steps out in style with her daughters for a show with a difference, writes. P.Ramakrishnan. 

She was a screen goddess in the 1970s and ‘80s and irrefutably, the first Queen of Bollywood, but Hema Malini, 61, says dance, not acting has always been her true calling. “I have faithfully remained devoted to dance,” the legendary actress says. “Even when I was acting, I made sure to find time to practice and perform. I’ve always held stage shows over the years, performed in the US, Europe and Asia in various festivals. Acting in films was a career; dance was my love.” 

Malini and her daughters Esha and Ahana Deol will be in town next week for a one-night performance of Parampara, showing Bharatnatyam, the oldest dance form of southern India, and Odissi, a traditional temple dance form Orissa (eastern India), dating back more than 2,000 years. 

“It’s our national dance,’ says Malini. “It’s what our culture is about and Bharatnatyam is my first love. My mother was a classical singer and had great interest in all arts, so she made sure by the age of six, I was learning.” 

Malini initially studied under Sikkil Ramaswamy Pillai of the Triveni Kala Sangam arts school, and was later taught by the likes of Kittapa Pillai, Vempatti China Satyam and Natranam Gopalkrishnan in Bharatnatyam, and two other dance forms, Kuchipudi and Mohini Attam. Kuchipudi is the classical dance of the south-east Indian state of Andhra Pradesh, known for its graceful movements and strong dramatic characters. Mohini Attam, from Kerala, in southernmost India, is danced only by women and is known for its sensual themes. 

“Dance is a life-long commitment,” says Malini, who took up acting in her mid-teens. She also served an apprenticeship under Mylapore Gowri Ammal in the Abhinay (the art of acting and expression) aspect of Bharatnatyam, and studied the theory and practice of Carnatic music. Through films such as Geet Govind, Durga and Draupadi, Malini helped to popularize so-called dance ballet – an accessible form of classical dance marked by its simplicity, directness and grandeur. 

Malini starred in more than 150 Indian movies during four decades, but always ensured she allocated time for dancing. “There’s a world of difference between film dancing and the traditional art,” she says. “I was very strict about not doing any vulgar movements. I would first ask the choreographer to show me the steps and if I didn’t like it. I wouldn’t do it. I’d do them my way.” 

“Even today, the way Indian cinema is going, there are many good dancers, but its up to the actress how she portrays herself. You have a choice to do or not do a movement a certain way. There are some actresses who are so good they will never appear lewd. Women have to be responsible for how they are shown and projected.” 

In her heyday, Malini was known as the Dream girl, thanks to the 1968 movie that launched her big-screen career, Sapnon Ka Saudagar (the Dream Merchant). Posters carried the alluring line: “Come meet the Dream girl”. “I had no training in acting,” she says. “Dance was it. I think dancing made me more comfortable performing in front of the camera because I knew I had to express myself. In dance, there are no words. All gestures and movements have to reveal the narrative. “In movies, there’s dialogue and song and your face doesn’t have to exaggerate to display emotion as much. There were no schools for acting and training courses like there are now. I took what I learnt from my background and made it work for me.”

Although her youngest daughter, Ahana, has shied away form Bollywood, Esha, 23, is a popular star. Neither has attained the deified status of their mother, who was yet again voted as one of India’s most beautiful women. 

Unlike her own mother, Malini says she hasn’t pushed her daughters – although she certainly didn’t discourage them from following in her footsteps. 

“Everything I am is because of my own mother,” she says. “She wanted me to dance, I did. She wanted me to act, I did. I didn’t push my daughters to anything, but I did encourage them to learn dance from early on. In my early years, I was in Tamil Nadu, where you can easily learn Bharatnatyam, but my kids grew up in Mumbai and its much harder. They had to travel to their teachers and they were in school, so it was a bit much. And they did whine and complain,” she says with a laugh. “But now, it’s the most beautiful thing that binds us together.”

Malini says she’d like to team up with Esha in a film. “Eventually, I’d like to act and want to direct a film with her, but there’s a paucity of good writers and suitable subjects. I can’t do rubbish and I can’t sit at home and do nothing. We’re lucky that we have dance.” 

For the two-hour, Hong Kong show, the trio will perform solos and duets in various styles and costumes, with all three dancing a finale.

“The rhythm and harmony is perfect when we all dance,” says Malini. “We all live together, rehearse together, compose together. Daughters are like an extension of the mother, of oneself.” 

Click on any of the images to see larger pictures.