Meera Patel, a prodigious talent and second generation immigrant in the UK commenced her musical journey at age seven, mastering the violin as her primary instrument. Recognised for her exceptional skill, she became a Junior Artist with the esteemed London Philharmonic Orchestra at a remarkably young age. Since then, she has graced renowned stages worldwide, captivating audiences with virtuosic performances, including solo concertos in illustrious venues like the Royal Festival Hall, Guildhall, and even performed in international cities such as Prague and Venice.
In an interview with Asian Voice, Meera discusses incorporating South Asian elements into violin performances, her inspiration behind supporting CICS and much more.
Have you incorporated elements of South Asian music or culture into your performances, and if so, how has that been received by audiences?
A lot of the music I have ‘formally’ learned on the violin over the years has been western classical. Yet, constantly retaining an open mind in everything I do is something I always aspire towards, in the same way that I like to believe that ‘South Asian music’ and/or ‘culture’ need not to be limited to only one connotation. In the past I have played (as an extra player) Indian music with the ‘Zohra’ orchestra, Afghanistan’s first all-female orchestra, when they toured to London. I’ve also undertaken work experience with British composer, record producer and tabla-player Kuljit Bhamra MBE. The level of fusion between genres and music from different continents is something that I found very inspiring, as well as his work to ‘demystify’ tabla playing and bring it to more diverse audiences. Recently, I have played the violin a few times to older Indian audiences – an old mix of Indian songs, which was very well received so overall it has been a positive experience.
How has your experience as a South Asian violinist in the UK influenced your integration into musical spaces predominantly occupied by white musicians?
As a second-generation immigrant in the UK, I have often felt a complex and multifaceted sense of identity, and have never wanted to tie my identity down to one thing or one culture. Having said that, I have at times, it seems, seamlessly integrated myself into musical spaces predominantly occupied by white musicians. In other settings I have been one of many South Asian musicians, playing European music, and at other times, playing South Asian music. From when I first started playing the violin, in many settings I was acutely aware that there were very few people around me, with brown skin, pursuing it to the level that I was aspiring towards. That’s not to say that South Asian violinists playing to a high level are unheard of, but the concept of succeeding and reaching a high-level on the violin often felt presented from the outside as something only attainable for people of a certain background – such as being ethnically white/European, and not very welcoming of diverse backgrounds.
As an Oxford University student, I faced challenges as the only South Asian among a music cohort heavily focused on Western classical traditions. Despite efforts to improve diversity, I found the curriculum often biassed towards Western classical music, particularly in orchestra and compulsory modules.
What inspired you to lend your support to the Cochlear Implanted Children Support Group Charity (CICS)?
My two younger twin sisters, Ria and Karissa, were born deaf. Ria has severe bilateral sensorineural hearing loss, while Karissa has profound bilateral sensorineural hearing loss. My mother, incredibly observant, detected their deafness early on, marking the start of a new journey. Karissa underwent surgery for cochlear implants, while Ria was fitted with hearing aids. Growing up with access to both the Deaf and Hearing worlds, my sisters became inspirations, overcoming obstacles along the way. CICS, a small charity run by parents, provided invaluable support to our family in the early years and continues to aid other families with profoundly deaf children. During my time at Oxford, I organised concerts, raising awareness about Deafness, with fundraising efforts such as for another charity – National Deaf Children’s society. Deafness, though diverse and intricate, has always been present in my life, despite not being deaf myself. Similarly, music has played a multifaceted role in shaping my experiences.
What message or legacy do you hope to leave for future generations of musicians, especially those from diverse cultural backgrounds?
Wherever life may take you, there is always something to learn from music. To those from diverse cultural backgrounds – your diversity is a strength and gives you a unique insight, free from the constraints that may be posed by the status-quo. For many younger generations – it may be likely that your cultural identification is a real mix, especially in the UK, and you will encounter a real diverse range of cultural experiences which foster open-mindedness – this too is a strength – such as the ability to integrate musically with many people from different backgrounds but also have a richness of heritage to draw upon.
