Pop legend Usha Uthup believes it is important for singers to maintain their originality as that’s what sets one apart from the crowd.
Speaking on the sidelines of the ongoing Jaipur Literature Festival, Uthup, who is known for her distinctive voice and trademark style of ‘bindi’ and saree, said one has to constantly reinvent to stay relevant.
"For me, the important thing is to make time your friend. You have to maintain your identity because it’s not how good or bad a singer you are, but how original you are.
"If you are original, you will be around. Only the good remains, rubbish gets sieved out, and if your identity is original, it will be there," Uthup said replying to a question from PTI.
The 75-year-old singer, whose songs such as 'Hare Rama Hare Krishna', 'Rambha Ho' and 'Koi Yahaan Nache Nache' are popular even today, said one has to move with the times.
"If you think you can race against time, it's not going to happen. You have to reinvent yourself. If I have sung ‘Shaan Se’ or ‘Ramba Ho’ three million times before, if I sing it today, I have to sing in a way that would attract the young generation.
"It's very important to maintain your identity and not try to copy anyone else. No one can sing like Manna (De) da, Lata ji (Mangeshkar) or Shankar Mahadevan, but then no one can sing like you. If you try to copy someone else, the one being copied will be done injustice and the biggest injustice will be done to you," she said.
On a question whether she believed Hindi cinema music was on the decline, Uthup said that was not the case.
"Don't feel bad that it is going down or anything like that because it's not going down at all. Let it all come in, the good stuff will remain and the bad stuff will automatically go. The more you think that 'oh songs were so good in the old days...' But who said that? It was the audience.
"In those days, RD Burman was not thought of as a good composer at all. Today, his music is the most mixed and remixed. Why did ‘Suhana safar’ become such a big hit? It's not only because the lyrics were fantastic or the music was good, it had Dilip Kumar," the singer recalled.
Uthup, who has recorded hundreds of albums in different languages and is a Padma Shri Award-winner, believes that a song is much bigger than the film or the voice behind it.
"The song is much bigger than the singer. Instead of saying old film songs were so popular. What was 'Eeena Meena Deeka'? Today, it's a classic. ‘Hari Om Hari’ is a classic. A song has to be given a certain amount of time.
"If you give it time, it will become a classic. If people don't like it, it's going to be lost anyway. Today's singers, composers, and lyricists are also fantastic. Everybody sings 'Pal' of KK or 'Bulleya',” she said.
Uthup’s biography ‘The Queen of Indian Pop’, translated to English by Sristi Jha, was released last year.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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