The Indian singer spoke exclusively to Eastern Eye about her music career, enduring appeal and the joy of performing live for worldwide audiences
Falguni Pathak
By Asjad NazirSep 13, 2024
Navaratri festivities will kick off in the next few weeks in spec-tacular fashion with concerts headlined by Falguni Pathak, the undisputed queen of dandiya.
Fans will be delighted with the singer’s UK tour, with hotly anticipated September shows in London (21) and Leicester (22), which will blend garba, Bollywood and her greatest pop songs. The voice behind timeless hits such as Maine Payal Hai Chhankai, Yaad Piya Ki Aane Lagi and Meri Chunar Udd Udd Jaye will bring her signature energy and festive spirit for UK audiences.
Pathak is famous as one of India’s finest live performers, who has been entertaining audiences since she was nine years old.
The singer spoke exclusively to Eastern Eye about her music career, enduring appeal and the joy of performing live for worldwide audiences. She also revealed what to expect from her UK shows and had advice for aspiring artists.
How do you reflect on your remarkable journey?
This journey started when I was a four-year-old, listening to music at home and singing in school, including in competitions. Then, at the age of nine, I started doing professional music shows. At the time, I used to sing film music. After some years, garba happened; then came the pop albums. I have been very lucky and can say that I am blessed to have been given an opportunity to sing such a great variety of songs. I am very happy and content. I thank god every second for all this.
How have you maintained such a high standard for so long?
Actually, I don’t even realise how all these years have gone by so quickly. Time has flown by. With god’s grace I have been able to work with such a wonderful team that is so very supportive. I never thought about joining the rat race or whatever is trending. This hasn’t even crossed my mind – that I must do what is currently trending. Whatever opportunity I got, I tried to do my very best.
The standard has always been stunningly high, especially on the live circuit…
I try to improve every step of the way. It has now been 29 years with my garba group. Every year we look at our own shows and think, ‘how can we improve?’
Every year we have the same process – how can we be better?
And I’ve been fortunate to have such a lovely audience who motivate me further. It’s god’s grace that I been blessed with the opportunity to do this. I never take that for granted.
Pathak performing for a huge crowd
How much does live performance keep you motivated?
I started with live performances. This journey began at the age of nine, when I didn’t really know anything. So it was that response from the audience, seeing the joy in their eyes, the love they have, and their smiles. That motivates me to do better every year, and it has been constant since the beginning, when I first took to the stage.
What has it been like performing on stage all over the world?
It feels great that a global audience loves my music. I started to feel that love worldwide after my first album, Yaad Piya Ki Aane Lagi, was released; it was an international hit. After that, people on the garba scene started to get to know me. It feels really great to perform all over the world and people love my music.
How much are you looking forward to returning to the UK?
I have so many great memories connected to shows in the UK, including in London. I remember especially performing the big garba shows in Wembley. Those memories are still fresh in my mind. I remember people enjoying those shows so much. It was such a fantastic response. After that we have been waiting to do a big show in London… and now it’s happening. It is such a great feeling to return to the UK, and we are all excited.
What can we expect from the UK shows?
There will be a great variety of songs, which will include the much-loved garba classics and popular songs from my albums. There will also be some popular Bollywood music, so it will be a great mix of songs and genres.
Which songs do you enjoy performing the most?
Actually, I think all the songs are very close to my heart. I enjoy performing all of them, equally.
Do you ever get nervous before going on stage?
(Laughs) Yes, despite having performed all these years, all over the world, I do still get that nervousness before going on stage. I get those butterflies in my stomach, and that slight tension. I start thinking of the audience and what the response will be like and if they will enjoy my performance. I think, what will happen? I hope everything goes well. And I pray to god. All this does happen before each show.
What is the secret of generating so much energy on stage?
First, singing and music are my biggest passions. That passion gets inside my heart and being. It spreads throughout me. Also while performing garba, you are singing for a higher power, which generates more energy inside you. We are celebrating Navratri, which is also joyous. Plus, you get that great response from the audience, which gives you added energy. Seeing people dance and enjoy my music really does increase those energy levels for me.
What inspires you?
The biggest inspiration is my audience. I have been performing for them for decades now and the unconditional love they give me always inspires me. They motivate me to perform even better every single time.
You are a great music icon. What advice do you have for young artists starting out on their journeys?
Keep working really hard. This profession demands a lot of hard work. Also, be passionate about your craft. It is really important to have that passions for whatever you want to do. Believe in yourself, believe in god, pray hard and work hard. Don’t compare yourself to others or feel like you have to do what they did. Have self-belief and concentrate on your own journey.
Falguni Pathak
You have achieved a lot, but do you have any unfulfilled ambitions?
The higher powers have given me everything. I have also been blessed to have been given things that I have not even asked for. But the best thing is that my passion has become my work. What more can one ask for? So, I thank god for whatever he has given me. Jai Shri Ram.
Falguni Pathak at OVO Arena, Arena Square, Engineers Way, London HA9 0AA, next Friday, 20 (www.ovoarena. co.uk); and Mattioli Arena, 12 Memory Lane, Leicester LE1 3UL next Saturday, 21 (www. Leicester arena. Co.uk)
WHEN Rishi Sunak became an MP, he swore his oath on a copy of the Bhagvad Gita, but few people – including perhaps Britain’s first Asian prime minister – will have been aware of the efforts of a Shropshire-born civil servant in that little moment of history.
Charles Wilkins (1749-1836) was an employee of the East India Company and an avid Sanskrit lover. He arrived in India and went on to study the language under scholars in then Benares (now Varanasi, which India’s prime minister Narendra Modi represents) and produced what is believed to be the first English translation of the holy Hindu text.
It made the Gita accessible not only to the British, but also millions of Indians, including Mahatma Gandhi, and years later, Sunak.
This is just one of the anecdotes Manu Pillai uncovers in his new book, Gods, Guns and Missionaries: The Making of the Modern Hindu Identity, published earlier this year.
Pillai traces the transformation of the religion over the past four centuries – from the arrival of early Europeans in the Indian subcontinent to British rulers and the rise of Indian leaders during the freedom movement – and examines the impact of those influences.
Manu Pillai
“Most of us look at Hindu identity today through the prism of Hindu-Muslim relations, because in the present, that is what became,” Pillai told Eastern Eye. “But to me, it seemed like a lot of modern Hinduism was actually influenced by colonialism and Christianity.”
Not so much in the way that missionaries converted millions of people, Pillai explained, as they “never had physical success in terms of numbers”, but “they had a lot of intellectual success in terms of placing these moulds and frameworks of thinking, which we took in order to articulate a modern avatar for Hinduism. So, I thought that story deserved to be told.”
This is his fifth book, which Pillai began in 2019, following a dissertation on Hindu nationalism at King’s College London. At the outset, he clarified the book is not about his academic thesis, rather it examines the impact of the early Portuguese, the Italians and other Europeans, then the East India Company, the British and finally, Indian reformers and politicians prior to and after independence.
Pillai said, “Hinduism is not a Western-style religion. It’s a cultural framework in which there’s multiple diversities. Think of it like a draw cabinet; it is the overall frame that is Hinduism. But each door has its own individual identity, as well.”
And , the cover of his new book
Pillai charts the influence of hardline Portuguese missionaries whose influence is evident in Goa even today, while in the south, an Italian priest, Roberto de Nobili, adopted the local Hindu ways in order to spread the teachings of Christianity.
The book also shows how British colonial rulers were initially reluctant to the push from missionaries in the UK to proselytise communities in the subcontinent, before eventually changing their minds. Reformers such as Serfoji and Raja Ram Mohan Roy adopted a more modern approach, followed by Dayananda Saraswati, Bal Gangadhar Tilak, Jotiba Phule and Veer Savarkar, whose interpretation of Hinduism came at a time of India’s freedom struggle.
This intertwining of religion and politics is not new, though, Pillai said. History has shown how rulers patronised places of worship and this continues in contemporary times, too.
The writer described how Jawaharlal Nehru (independent India’s first prime minister) and “the Nehruvian elites made a conscious effort to keep religion out, but bubbling just beneath that first level, (but) religion was always present in politics. Caste was always present in politics.”
Pillai said, “It was Nehru’s charisma and electoral success that allowed him to keep it at bay or in check. But it was never absent. By Indira Gandhi’s time, she started playing the religious card as needed, whenever she felt her party could benefit from it.”
He added, “The difference is religion has now come much more centrestage and openly acknowledged.”
Pillai also noted how economic clout and technology have both played a part in the recent assertion of religious identity, the most obvious is the patronage of places of worship, while carrying out rituals under the guidance of a priest over a video link is now the norm.
In the book, he writes about how the spread of the English language in the subcontinent meant exposure to new ideas, thus empowering Indians to not only challenge authority, but also learn about the world outside their country.
“The British employ Indians who can speak English. They pay those Indians. Those Indians are getting cash revenue. They are no longer dependent just on their farms (to earn their living). They use that to patronise their community. They build temples,” Pillai said.
“So, ironically, the wealth created by service in the British East India Company ends up in the flowering of Hinduism. The railways, which the British laid to move their troops around, also enables pilgrim traffic to temples. “All of these things come together – technology, politics and economics.”
More recently, Pillai said Hindu resurgence “isn’t purely due to political dynamics”. His view is that with rising disposable income, “you have time to think about identity, and now you have money to patronise things.”
He cites the example of Kerala, where he is from, explain how remittances from the Gulf countries led to a boom in old family temples being renovated. “There is something culturally coded in organising a big puja, or making donations to a temple is seen as an a c h i e v e m e n t , weighing yourself in grain and donating to a temple.
“So that kind of religious identity also boomed with economic boom. It’s not as an economic boom creates some rational paradise. On the contrary, an economic boom can actually result in a greater flowering of religiosity.
“Partly because of that, post liberalisation (of India in the 1990s), there’s been a new middle class that’s emerged, there’s also now disposable income. People have the wherewithal to now think beyond roti, kapda, makaan (food, clothes and shelter), and to think about who are we as a people? And the answer to that question lies in religion, culture, heritage.”
India and south Asia’s vast diversity dictate the way Hinduism is practised, across not just the subcontinent, but also across the world, where the diaspora communities are settled. Consequently, this shapes the evolution of Hindu identity.
Pillai said the next challenge for Hinduism will be maintaining that inner diversity, “because we live in times where there’s so much emphasis on that homogenised identity, on one reading of that label, of what it means to be a Hindu.
“It takes away from how much pluralism there is within the faith itself. The richness of Indian culture, in general, has been the fact that all religions that have entered India have become pluralized, even if it’s Islam.
“Islam in Kerala is not the same as Islam in Bhopal. When the north Indian Muslims under the Muslim League, as I mention in the book, went to Kashmir in the 1940s hoping to woo the Kashmiri Muslims, they were horrified. They thought that Kashmiris, with their saint worship, and all of that were not even proper Muslims. They said, ‘we’ll have to teach them Islam first, before making them Muslims, because they couldn’t recognise that version of Islam. “Everything in India is hybridised, and in many ways, that has been our strength, these hybrid identities have continued over so many generations. “What would be a major challenge is this tendency towards homogenising… towards feeling there has to be only one version of Hinduism and one interpretation of things.
“Even our epics have so many retellings. In Kerala there is an oral kind of Ramayana, in which Shurpanakha, when she propositions Rama and says, ‘I want to marry you’. And he says, ‘No, I’m already married. You go to Lakshmana.’ Shurpanakha turns around and says, ‘That’s okay; the Sharia says you can marry twice, more than one woman.
“So this is a Ramayana in which Shurpanakha quotes the Sharia, because it’s a Muslim Ramayana.
“That is the kind of country we come from. And I think losing that, where everything has become standardised, and that’s a global phenomenon, something we’re seeing around the world. That is a tragedy. That would be the bigger challenge.
“We need more people telling these stories about our inner plural, pluralism and diversity – which is not to devalue that framework. The framework has its own value. I’m not saying that Hinduism should somehow be only about its pluralism, but at the same time, it has to be a fine balance between maintaining that inner richness, maintaining all the threads in the tapestry without painting the whole tapestry one single shade.”
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