Padma Shri Anuradha Paudwal, one of India’s renowned singers, has been dedicated to reviving the scriptures of Adi Guru Shankaracharya, the philosopher of Advaita and a key proponent of ‘Sanatan Dharma’. Recently, she released ‘Bhaja Govindam’ alongside Kumar Mangalam Birla, Chairperson of the Aditya Birla Group, and singer Nitin Mukesh at ‘Aditya Utsav 2025’, in tribute to Late Basant Kumar Birla.
In an interview with Asian Voice, Anuradha shared insights on the UK South Asian community’s response to ‘Bhaja Govindam’ and how devotional music can inspire younger generations to reconnect with spiritual heritage and more.
Adi Shankaracharya’s verses are deeply philosophical. As a singer, how do you approach the challenge of expressing their spiritual essence through music?
Music has always been the most powerful medium of expression, reaching people faster than words alone. Personally, I believe it resonates deeply because it touches the senses. The same verses, when recited without a tune, may not have the same impact as when they are sung. Melody enhances meaning, making the message register more quickly. The use of ‘sur’ (tone) is not just an artistic choice—it is an added dimension that connects with people's hearts and minds on a profound level.
What was the most moving response you received from the South Asian community in the UK regarding your rendition of Bhaja Govindam?
Whoever I played it for, even during my trips to the UK for two Bollywood concerts, was instantly excited. Those I met personally were particularly enthusiastic. They had seen what was on YouTube and loved it right away. Many even asked, “Is this Sanskrit?” because the rendition sounded so much like a song. As a North Indian, I understand that South Indian singing, especially Carnatic music, can be challenging to follow unless one is trained in it. However, when the music is adapted into a North Indian style, it becomes more accessible and familiar, making it easier for North Indian listeners to connect with and appreciate.
The Indian community in the UK deeply values its cultural heritage. How can music, especially Sanskrit hymns, serve as a bridge between generations in the diaspora?
Sanskrit hymns have a powerful and precise structure—grammatically, mathematically, and phonetically. Their composition is not just artistic but also scientific, with a profound impact on the mind and body. Their formation itself carries a therapeutic quality. From personal experience, I’ve found that in moments of fear or uncertainty, simply playing Sanskrit hymns can instantly calm the nerves and even help find solutions to problems. In fact, many doctors have told me that they play my song ‘Ram Raksha Stotra’ in their hospitals, especially in 24-hour shelters and during surgeries, to create a soothing environment.
I believe this is because when your nerves are calm, you gain clarity of thought. A composed mind allows you to see situations from the right perspective, enabling better decisions and actions.
Do you think classical and devotional music can play a role in reviving interest in India’s ancient spiritual heritage among the younger generation?
There is already a growing interest in spirituality and classical music. Even today, many young children are practicing Sanskrit hymns, often leaving us wondering when they even started. One of the things I truly admire about this generation is their curiosity. Unlike in my childhood, when we simply followed traditions without questioning them, today’s children ask ‘why’ we do certain things. If we provide them with clear, logical explanations, their dedication and commitment far surpass that of previous generations. They don’t just follow—they seek to understand, and once convinced, they pursue perfection with even greater passion.
How can initiatives like yours help spread awareness of India’s ancient knowledge systems in Western institutions?
Western institutions have already embraced this, yet it is essential for our own people to recognise and take pride in their heritage. I often encounter individuals who seem embarrassed when asked about the role of spirituality in their success. They quickly dismiss it, saying they do not practice spirituality. But spirituality isn’t just about sitting in prayer with rosary beads—it’s a way of approaching life. For some, spirituality lies in their thoughts; for others, it is in their work. Doing the right work with sincerity is also a form of ‘pooja’ (worship), yet many hesitate to acknowledge their spiritual side.
We should be proud of our spirituality. I often emphasise ‘Sanatan’ because it liberates us rather than binds us. Unlike rigid religious structures, ‘Sanatan’ recognises the sun, the universe, and the interconnectedness of all beings. It is about kindness, respecting each other’s space, and coexisting in harmony. It is a philosophy that applies to everyone. ‘Sanatan’ is simple—divinity should not be complicated.
Are there any upcoming projects where you plan to further explore the works of Adi Shankaracharya or other spiritual masters?
I am focusing on Adi Shankaracharya because of the vast body of work he has left behind. Next, I plan to release ‘Soundarya Lahari’, ‘Dakshinamurti Stotra’, and more. He has written so much, including ‘Ganesh Pancharatna’ and ‘Rama Bhujanga Stotra’, both of which I have sung. In fact, I had the honour of singing ‘Rama Bhujanga Stotra’ during the inauguration ceremony of the Ram Mandir.
