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This article by Elaine Struss was prepared for the October 4, 2000

edition of U.S. 1 Newspaper. All rights reserved.

Anoushka Shankar: Keeping the Tradition

Child of the artist who, in the 1960s, brought Indian

music to the west, Anoushka Shankar grew up breathing the rarefied

air of musical prominence and worldwide adulation that surrounds her

pioneering father, Ravi Shankar. Through his collaborations with

violinist

Yehudi Menuhin and with the Beatles, Ravi made the sitar, the tall

traditional Indian stringed instrument, part of the world’s musical

landscape. Steeped in the tradition of Indian classical music, he

devised modifications of the instrument and streamlined the notation

of traditional Indian music.

From the leisurely Indian tradition of lengthy musical rumination,

he made adaptations suited to audiences who have been taught that

time is money. He told People magazine, "I would be happiest if

Anoushka can keep up the traditions I have guarded."

For the last decade Ravi has been systematically passing on his

heritage

to his daughter Anoushka. At 80, he commands respect in traditional

Indian circles because of his age. Anoushka, who is 19, is the only

person to have been trained completely by him. Father and daughter

are celebrating Ravi’s 80th birthday and the release of Anoushka’s

second solo CD with an American concert tour that includes U.S. 1

territory.

Anoushka Shankar opens the season of the Hightstown-East Windsor

Concert Association at the Peddie School in Hightstown on Saturday,

October

7, at 8 p.m. Accompanying her in concert are tabla players Bikram

Ghosh and Tanmoy Bose. The Hightstown concert comes a day after Ravi

and Anoushka play in Carnegie Hall. The pair visits New Jersey again

on Tuesday, November 21, to play at the Performing Arts Center.

In an interview from a hotel room in Nashville, Tennessee, Anoushka,

who has the air of a tested performer, talks about breaking into the

Indian music scene as a teenager. "I started performing at

13,"

she says. "Whatever I did, people were impressed. By the time

I was 16 or 17 people began looking for more substance. Now that I’m

19 people may take me more seriously. It’s been really gradual."

"In India," she says, "age is respected. I’m still a baby

as far as Indian culture is concerned. People my father’s age refer

to us younger performers up to the age of 28 as `the kids.’ When they

come to a concert they look at me in terms of what I’m doing, but

also in terms of my potential."

Does Anoushka find that being her father’s daughter is a burden?

"That’s

the most difficult question to answer," she says. "Look, how

many fathers have I had?" Appreciative of her father, she adds,

"It’s not a burden. It’s more a matter of privileges and

opportunity.

It comes with the territory. Being my father’s daughter opens doors.

Look at the opportunities I’ve had. I’ve had opportunities to tour

with him in the most wonderful halls, and to meet unbelievable

musicians.

Someone without his name would have to go through a lot of effort

for that. Once they’ve done it on their own, they’ve proved

themselves.

I have to prove myself afterward."

Her remarks ring a bell in the memory. Hidayat Khan, son of Ustad

Vilayat Khan and the upcoming member of a dynasty of sitar players,

is 25, and also one of "the kids." He told me (U.S. 1, May

26, 1999) how natural it was to make music in his family. "Who

taught a fish how to swim?" he asked rhetorically about his early

mastery of India’s complicated music. He, too, was aware of the

benefits

of being his father’s son. "Being the son of my father was like

being the son of a king. India is a society where age is respected.

But when I was 10, 50-year-old men would be touching my feet. These

people would do anything for us because we were my father’s sons."

Like Anoushka Shankar he refined his skills on the sitar by touring

with his father, and is at home both in India and in the west.

Anoushka was born in London. According to People

magazine

her mother is Sukanya Rajan, a former banker 30 years Ravi’s junior,

whom he married in 1989. The family moved to the United States when

Anoushka was 12. The move was fueled, in large part, by her father’s

chronic heart problems. "We moved to California partly because

of the weather," she says. "But also, the doctors were

incredible.

We were visiting friends when my father suddenly needed angioplasty.

The doctors were brilliant. He wanted to be where they were and we

moved here the next year."

Anoushka started seventh grade in Encinitas. By that time she had

been studying sitar with her father for three years, using a

specially-constructed

small instrument. A year later she would begin touring with him. She

graduated with honors from high school in 1999 despite a somewhat

spotty attendance record. "I took a few months off every winter

because we went back to Asia," she says. "I also took off

days in fall and spring when we toured in the United States. We always

do Europe in the summer, so that was never a problem."

As a hobby Anoushka plays piano. She mentions Debussy and Chopin as

favorite composers. "I’m not a professional," she says about

the piano, "and I don’t have lessons anymore. I’m never in one

place long enough. I cheated a lot on the piano because I had learned

to play by ear on the sitar. I always had my piano teacher play a

piece; then I knew it. My level of piano playing is better than my

reading. Still, when I play with a western orchestra, I can explain

things to them because I do read music." In 1997 she performed

her father’s Concerto No. 1 for sitar and orchestra with Zubin Mehta

and the London Philharmonic Orchestra for the first time.

Her musical tastes are eclectic. "I listen to all kinds of

music,"

she says. While she was in Nashville, she attended a jazz workshop

and a bluegrass concert. When she played in Ravinia, summer home of

the Chicago Symphony, she heard the banjo virtuoso Bela Fleck and

his Flecktones. She listens to Madonna. The interest is mutual.

Madonna

declared herself to be a fan of Anoushka’s in a recent story in

"Rolling

Stone."

Anoushka has postponed college in order to give concerts with her

father. She told George Varga of Copley News Service, "I got

accepted

at every college I applied to, but I was half-hearted when I applied.

I do want to go to college eventually. But I decided college won’t

disappear, and I want to be with my Dad. There is a lot of urgency

on his part and, hence, on my part, too, although it’s not so often

spoken. He feels rushed to give me so much. He doesn’t know how much

time he has left."

Ravi Shankar is very much a part of Anoushka’s discography. The same

year she made her performing debut she played on her father’s

recording,

"In Celebration." Two years later she joined her father and

former Beatle George Harrison in "Chants of India." Then came

her exclusive recording contract with Angel/EMI and her first solo

CD, "Anoushka." Her second solo album,

"Anourag,"

was released in August.

Ravi composed the five pieces for "Anoushka" and the six for

"Anourag." He performs for the first time in many years as

his daughter’s recording partner in the final track of

"Anourag."

In Hindi the word "anourag" means love and affection. A note

on the liner declares, "As a token of deepest love for his

daughter,

Ravi Shankar is proud to make a special appearance on this

recording."

A strip of four color photos of Anoushka in various moods form the

back of the liner notes. She appears relaxed and barefooted, wearing

casual clothes in a lush tropical garden; elegant and dignified in

an opulent setting; sophisticated and sultry in a darkness illuminated

by a flash exposure; and exotic, wearing Indian jewelry, including

a diamond in her nose. Inside the liner notes she looks dreamy in

a black and white photo. The multiple facets she displays in the

photos

are as varied as the music she plays.

The liner notes include a glossary of Indian musical terms that helps

the western listener understand the structure of a raga, the basic

Indian composition, which is associated with a time of day or season

of the year. Notes about individual tracks point out the rhythmic

basis of each raga.

Tala, or rhythm is a distinguishing feature of Indian music. Its

presence

is decisive, and it may be complex. A common pattern is teental, 16

beats divided 4-4-4-4. "Anourag" includes a piece

commemorating

the 50th anniversary celebration of India’s independence for which

Ravi Shankar developed a new tala. "It’s a very interesting

piece,"

Anoushka told Billboard, "because it’s weirdly divided into 50

beats. So it’s a real headache — but amazing when you get into

it."

The new CD is compelling. From the very beginning a rich and robust

sound awakens the ears. The pieces are fast-paced. Those who have

found listening to ragas tedious because of their length will not

have a problem here because the traditional slow introductions are

shorter than usual. Throughout, the CD performances sparkle with

clarity

and authority. The final track, with its two-sitar climax bursts out

like the final display of fireworks on the Fourth of July.

The CD includes a duet for two tablas, the pitched Indian drums used

to accompany musical performances. Both of the tabla players on the

recording, Bikram Ghosh and Tanmoy Bose, will participate in the

Hightstown

concert. "We all understand each other," says Anoushka.

"I’ll

look at one and he’ll play, then I’ll look at the other." She

laughs as she owns up to being in charge. "I usually let them

do a duet at the end of the show. I’ll play in the background and

they do their thing."

Taking command may be one of the ways Anoushka breaks out of a

traditional

mold. Quietly, and with the help of her father she has broken another

barrier. She was the first woman to play at the Ramakrishna Centre

in Calcutta, which she describes as being "a mission, with monks

and meditation. It’s one of the few places that’s exclusively

male."

"I got in thanks to my Dad," Anoushka says. "He was to

give lecture, and he was not well enough to play. I played for him.

I felt good to do it." Actually, playing at the Centre was simply

another way of expressing one of her long-term proclivities. Asked

if feminism is part of her life, she seems at first surprised at the

naivete of the question. But then she sturdily shoots back, "I

ran a feminist club in high school for three years."

— Elaine Strauss

Anoushka Shankar, Peddie School, Mount-Burke

Theater,

Peddie School, Hightstown, 609-490-7550. With tabla players Bikram

Ghosh and Tanmoy Bose. $20. Saturday, October 7, 8 p.m.

Ravi Shankar & Anoushka Shankar, New Jersey Performing

Arts Center , Prudential Hall, Newark, 888-GO-NJPAC. With tabla

players Bikram Ghosh and Tanmoy Bose. $10 to $46. Tuesday, November

21, 8 p.m.


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