The Southbank Centre’s new event series, ‘South Asian Sounds’ celebrates the diverse musical traditions of the Indian, Pakistani, Bangladeshi, and Afghan diaspora. The series also highlights the work of innovative UK-based artists and collectives exploring a fusion of cultures and genres, ranging from bhangra to jazz, Qawwali to club music. Scheduled from Thursday, March 7, to Sunday, March 10, 2024, ‘South Asian Sounds’ aligns with the Southbank Centre's ongoing commitment to showcasing and supporting the vibrant creative communities across London and the wider UK.
A part of this series is Lok Singer, Padma Shri Malini Awasthi. Known widely for her contribution to Bhojpuri music, she sings in Bhojpuri, Awadhi and Hindi, also presenting Thumri and Kajri. The Government of India awarded her the civilian honour of the Padma Shri in 2016. Malini, along with Anwar Khan Manganiar will be presenting a showcase on Indian Folk songs on March 10.
In an interview with Asian voice, she discusses her musical journey and the upcoming showcase.
Can you tell us about your introduction to music and its impact on your music career?
My upbringing revolved around music, encompassing listening, singing, dancing, and emoting. While my parents weren't singers themselves, my father possessed a keen appreciation for good music, particularly Indian classical music. In those days, the emphasis was on the purity of music, with artists like Pandit DV Paluskar, Pandit Ravi Shankar, Lata Mangeshkar, Bismillah Khan, and my guru, Girija Devi, dominating the scene. Despite not knowing much about them initially, I absorbed their music as a young child. My grandmother would sing bhajans, and my aunts excelled in ‘gharelu sangeet.’ However, traditional festive music like ‘Bulaua’ and ‘Ratjaga’ weren't considered significant in those days and growing up, I realised the depth of life, stories, and literature embedded in these songs, extending far beyond mere entertainment. Throughout my musical journey, I've endeavoured to change this perspective. My journey from classical training to embracing Indian folk music was driven by a belief in its ability to capture the true essence of our society, traditions, and ecology.
Do you think that folk songs from North India are not taken seriously because of the way commercial music represents the region?
To be frank, I believe the key to gaining respect from others is to first take yourself seriously. It's about your demeanour, gestures, speech, and lifestyle and this applies universally, not just to any specific culture. Bhojpuri, being a popular dialect, is cherished for its sweetness, melody, and rhythm. Beyond being a language, Bhojpuri represents a resilient culture that refuses to fade away. Personally, I've received love and respect from Bhojpuri speakers and the diaspora.
Now, addressing the entertainment aspect, certain songs have gained popularity due to their commercial appeal, often exploiting emotional voids in migrant workers' lives. There have been singers who have not been conscious about the responsibility of representing a culture, with platforms like YouTube, there's greater freedom to create diverse content. Artists must recognise the responsibility they carry, preserving the legacy of Bhojpuri culture while embracing modern influences. Ultimately, it's up to us to reshape perceptions and celebrate our heritage.
What is a memorable highlight from your career?
I received an unexpected invitation from the US, to perform in Los Angeles. I was initially shocked by the offer, as I never imagined myself performing in such a renowned city. It was then explained to me that there was a small Bhojpuri-speaking community in LA who felt misrepresented by the abundance of sensationalised Bhojpuri content online. They wanted to introduce me to showcase a different side of Bhojpuri culture. Performing in LA and receiving such invitations reaffirmed the value of authenticity in my journey. For a long time, I struggled against stereotypes that undermined the class and dignity of Bhojpuri music. It was a constant battle to convince audiences that I could offer both entertainment and grace. Despite facing scepticism, I remained true to myself, refusing to compromise on my principles and over time, this insistence on authenticity has paid off. People who appreciate good music and respect cultural integrity have stood by me, propelling me forward in my career.
What can the audience expect from your performance at the Southbank Centre?
I believe they need to experience it firsthand. I intend to provide them with a truly unforgettable experience, one that will leave them on the edge of their seats. It's a journey I want to take them back to their roots, to the heart of the village and the aroma of home-cooked meals. These stories of India and the tales of the Ganga, Yamuna and Sarayu will stir up deep emotions. London is also very special to me, where I participated in Saregama in 1998. It was then that I realised the vibrant energy of London's audience. This is also not the first time I’m performing at the Southbank Centre. I have previously performed there for Muzaffar Ali's Jahan-e-Khusrau and as I prepare to visit in March, my favourite time of year, I eagerly anticipate the Holi festivities and the warmth of the audience's response. As an artist, I feel a responsibility to keep people connected to their roots, especially in a world where many are disconnected from their cultural heritage and I intend to do just that.