Kavitha Jayaraman: The Art of Enduring Traditions in Carnatic Music
I had the incredible honour of interviewing Kavitha Jayaraman, a true polymath, on Stalwarts Of Music with Aditya Veera. Apart from being an award-winning vocalist and Vainika, she plays multiple roles in her life—that of an analyst, performer, teacher, and curator. She is a prominent figure on both the U.S. and Indian stages, actively contributing to the realms of the arts and philanthropy. Kavitha holds a degree in accounting and financial management from Mumbai University. She is currently pursuing a Master’s degree in music business from the prestigious Berklee College of Music. She is a distinguished member of the Recording Academy—a rare accomplishment for an Indian. She was selected as an Indian Raga USA fellow in 2018 and has participated in 15 online collaborations with global artists, gathering over 1 million views on YouTube and Facebook.
The interview I had with Kavitha Jayaraman was highly informative and thought-provoking. We explored various aspects, including the obstacles encountered by Carnatic musicians, gender prejudices, the sustainability of the economy within the industry, and the significance of backing from the audience.
Venturing into social media
How did you overcome any initial hesitation or shyness about promoting yourself on social media platforms?
Kavitha discusses her reservations about self-promotion, explaining how Carnatic music trains performers to focus on solid foundations and the art itself rather than self-projection. This forced her to overcome her shyness when it came to sharing about her musical journey and initiatives on social media. She stresses how crucial it is to be visible in today’s world, especially when there is competition from numerous artists.
History and influences of Carnatic music
Could you share more about Carnatic music, its traditions, and the unique characteristics that define it?
Kavitha explains that there are two predominant classical music forms in India: Hindustani in the north and Carnatic in the south. Both of them have deep roots dating back thousands of years. Carnatic music originated and thrived in the south, maintaining its distinct characteristics. Unlike the north, where Arabian influences played a significant role, the south has retained its unique musical identity. Historically, the south saw fewer invaders, leading to limited external influences on Carnatic music.
Why did Carnatic music fail to reach audiences across India?
Kavitha believes that there was no medium to reach audiences across India at that time. Before the advent of radio, people discovered music through local live performances. Over the last 30–40 years, artists have begun to travel across the country to showcase their music and thus reach a wider audience.
Contemporary Carnatic musicians
In the context of evolution, how have contemporary musicians in the Carnatic tradition adapted without compromising its core principles?
Kavitha responds that over the years, artists like Ranjani-Gayatri and Sudha Ragunathan have played a crucial role in popularising Carnatic music, breaking barriers, and reaching diverse audiences. Contemporary Carnatic musicians have made significant strides in adapting to modern trends while preserving the essence of the art. She recalls that in the '90s, artists like Colonial Cousins and Shubha Mudgal contributed to this transformation. The shift from live performances to recorded music played a pivotal role in making Carnatic music more accessible. She also emphasised revisiting Shankar Mahadevan's album Breathless and observing its skillful integration of classical elements within a narrative framework.
Inclusivity in the world of Carnatic music
What initiatives have you undertaken to promote inclusivity in Carnatic music, considering the historical challenges in terms of accessibility for many right across the world?
Kavitha outlines her contributions in two ways. Firstly, she endeavours to showcase Carnatic music authentically on diverse platforms that may not traditionally feature this art form. Secondly, she works towards making music accessible to those who have been traditionally excluded. Elaborating on the first point, she states that she began her musical journey at a very young age. She recalls being mesmerised by Smt. Jayashree Aravind playing the Saraswati Veena at a concert, and she approached her to be accepted as a student. It wasn't until she relocated abroad that she recognised the underappreciation of the Veena.
Highlighting the prevalent trend at Indian classical music festivals, she notes that about 90% of the performers were vocalists, while the remaining instrumentalists were predominantly violinists, with only a few Vainikas. Grateful for her ten years in Singapore, she immersed herself in the city-state's vibrant music scene. Studying at the Singapore Indian Fine Arts, a residential music school with over 1500 students learning various art forms, she found a more appreciative audience for the Veena. This enriching experience played a pivotal role in her development as an instrumentalist.
Upon moving to the US, she was taken aback by the limited awareness of the Veena, often confused with the sitar, a consequence she attributes to the popularity of Pt. Ravi Shankar. In response, she undertook a mission to popularise the Veena in the region. This involved performing at venues where the instrument hadn't been showcased previously and offering Veena lessons to anyone interested. In the traditional context, the Veena was considered divine and reserved for instruction among the upper class.
Divinity of the art form
What significance does God hold for someone like you? Does it manifest in a specific shape or form?
Kavitha identifies as an atheist and believes that she is more cultural than religious. She regards music as a medium to connect to a higher power, explaining that singing a Kriti makes her feel more profound than meditation.
Challenges faced in the Carnatic Music Industry
I assume there are hurdles faced by artists in the Carnatic music industry, particularly women. How are these challenges being addressed, and have you personally encountered any?
Kavitha acknowledges that she has heard of a few instances of discrimination against female Veena players but believes she is lucky to not have encountered any discrimination herself. She explains that the reason for fewer such instances could be because most Vainikas are women.
Different forms of Veena
Could you help us understand the different kinds of Veena and how they are used?
She explains that the Saraswathi Veena, prevalent in South India, differs in the kind of wood used in its construction. Jackfruit wood, being hollow, is the most preferred due to its exceptional tonal qualities, contributing to the Veena's resonance.
Rosewood is another popular wood used for crafting the Veena, especially in regions like Bangalore and Mysore. According to her, artists playing the rosewood Veena often adapt their finger-style technique to complement its flatter and sharper tonal characteristics.
Delving into another variant, she introduces the Rudra Veena, more prevalent in North India. She notes the scarcity of Rudra Veena players today, owing to its complexity. She recommends exploring the Dagar family's musical legacy, as they have upheld the tradition of Rudra Veena playing. Despite its intricate nature, she posits that Rudra Veena's slow and meditative musical style has hindered its widespread popularity.
Guitars also have similar kinds of wood used for manufacturing. I imported a guitar from the States, which has a mix of mahogany, oak, and processed wood. But how does your Veena fare in those weather conditions?
Kavitha highlights the challenges she faced in maintaining her Veena outside of India, detailing the adverse effects of the hot and humid climate in Singapore on the fret of the instrument, composed of beeswax and coal. Upon relocating to Florida, she encountered a different set of obstacles. The scarcity of technicians capable of servicing the Veena posed a significant challenge, especially in the summertime, making outdoor performances more difficult.
Addressing a broader concern, she expresses her apprehension about the diminishing art of crafting and servicing Veenas. Being one of the few entirely handmade instruments, she advocates for a concerted effort to explore manufacturing methods that preserve the quality and tonality inherent in handmade Veenas, as the traditional art form faces a decline.
Economic challenges faced by Carnatic musicians
How can Carnatic musicians ensure economic sustainability, and what role does the audience play in terms of supporting this?
Kavitha emphasises the scarcity of practitioners in the Carnatic music genre, particularly in the global music landscape. To foster community growth, we need to create new opportunities. She advocates for the inclusion of Carnatic music on the agendas of musical festivals by festival curators. She notes how venues like NMACC and Mumbai have started hosting a lot of Carnatic musicians, and she believes others should follow suit. She proposes giving opportunities to local artists, as many Carnatic musicians perform with bands, resulting in higher costs for organizers. Instead, she says, they should give local artists the opportunity to perform. Kavitha laments that several talented Carnatic artists, not receiving their deserved recognition, often turn to teaching for a stable income. While this allows them to pass on their knowledge and uphold the musical legacy, it often requires sacrificing their performance careers.
Acquiring and retaining your audience
Music festival curators in India face challenges in preserving musical traditions, creating opportunities based on merit, and popularising classical genres. Many articles express concerns that curators are losing touch with the essence of these traditions. Could you share your insights on this?
With her mother being a curator, Kavitha understands the delicate balance required in the role. She emphasises the importance of serving the community, introducing new talent, and ensuring the next generation receives quality education. She emphasises how talent alone is not sufficient to build an audience and a successful career. She shares her experience of pursuing a Master’s at Berklee, where the focus extended beyond mere talent to encompass career management.
How do you handle the repetition of pieces in concerts? Is there a risk of losing engagement with the audience?
Kavitha dismisses any challenges to maintaining freshness in her music, attributing it to the extensive repertoire of Carnatic music. She explains that while artists may desire to introduce new compositions, the audience's preference for popular pieces often limits their ability to do so.
How attuned are you to audience responses during performances? Do you adjust your performance based on the crowd's reactions?
In her perspective, Kavitha underscores the significance of the audience's response, particularly in more intimate settings. She highlights how this interaction enables her to customise her performances accordingly.
Music as a medium to influence and help society
You recently became a 2023 voting member at the Recording Academy, and you've received various national and international awards. How important are these honours and recognitions to you?
Kavitha expresses the significance of appreciation and recognition in her journey. She mentions that the applause and feedback from her audience play a crucial role in motivating her. As a Grammy voting member, her goal is to inspire more Carnatic musicians to submit their work, with the hope of establishing dedicated categories for Indian musicians at the Grammys.
She also encourages musicians to reach out to her if they're interested in submitting their original work to the Grammys, as she sees substantial potential for representation and recognition for this art form.
Kavitha, you're the driving force behind Kaladanam, an institution where the guiding principle is "Seva through Vidhya," or “Teach to Reach." I've read about your impressive efforts in raising funds for various social agencies, particularly impacting the lives of special kids. The press release mentions you've raised close to 65,000 USD to date. Can you shed some light on your approach to achieving this and any specific strategies you've employed to reach these considerable numbers?
In 2017, Kavitha initiated Kaladanam while still working full-time in the corporate sector. Originally started to fulfil her desire to introduce her daughter to Carnatic music, Kaladanam gained rapid popularity among children in South Florida. Kavitha was inspired by her teachers to pursue teaching, as they believed that teaching deepens one's understanding of the art form.
She also wanted to make a meaningful impact through teaching and decided to provide free classes and encourage students to contribute to NGOs instead. This resonated with her philanthropic inclination. Kavitha created crowdfunding campaigns, collaborating with NGOs capable of accepting foreign currency donations. Through these efforts, she has supported approximately 15 NGOs over the past five years.
Blending Carnatic music with other genres
Among your many endeavours, your recent venture into fusion music caught my attention. I stumbled upon some fusion jam collaborations on YouTube, witnessing a purist like you exploring genres like blues on the Veena. What prompted this exploration into fusion music, and how do you see it impacting your audience?
According to Kavitha, training in classical art forms, be they Indian or Western, provides a solid foundation for the grammar of music. This foundation enables a smooth blending of genres. She played blues on the Veena with the intention of attracting more listeners to this traditional instrument.
The importance of formal education in music
You're currently pursuing a master's programme in music business at Berklee College of Music. It's somewhat unconventional for a practicing educator and musician to delve into the academic study of music business. What motivated you to take this academic path, and how do you envision leveraging this knowledge in your career?
In 2019, Kavitha recognised a void in her life after leaving her corporate job. She enrolled in the Indian Raga Fellowship in 2018, where she learned to analyse trends and understand algorithms. She realised the importance of navigating the digital landscape for music presentation and decided to deepen her knowledge of the industry. Her analytical background, coupled with a desire to delve deeper into the industry, pushed her to pursue a degree in music business at Berklee. Apart from offering her personal growth, it also opened up diverse opportunities for her, from managing artists to potentially establishing a new label.
Looking ahead
It's evident that you're driven by a continuous quest for learning and growth, Kavitha. Looking ahead, with your multifaceted career and the evolving music landscape, what ambitions and aspirations do you have for yourself in the coming years?
Kavitha modestly expresses that her musical journey has only just begun. She aspires to create a global platform for Carnatic musicians, making the art form more accessible and appreciated. In an era dominated by short-format content and fleeting attention spans, classical music faces challenges. She aims to counteract this trend and ensure the longevity and appreciation of classical music. She is enthusiastic about the boundless opportunities that the future holds, and she eagerly anticipates exploring and contributing to the ever-evolving realm of music.
The interview concludes with a quick Rapid Fire segment. Kavitha reveals that Chinmayi's debut song from the Tamil movie Kannathail Muthamittal always brings tears to her eyes and confesses Lady Gaga's songs, especially You and I, as her guilty pleasure. On being asked to assemble an all-star Carnatic ensemble, Kavitha names icons like MS Subbulakshmi and Mandolin U. Srinivas. We discuss essential traits for aspiring Carnatic musicians, including discipline, rigorous training, patience, and commitment. In conclusion, Kavitha expresses her desire to be remembered as someone who made a meaningful contribution to the field of music.
Overall, the interview captures Kavitha's dedication to her art, her continuous quest for learning, and her aspirations to create a global platform for Carnatic musicians while countering challenges in the classical music landscape.
