Essential to curate classical music exhibits correctly: Bickram Ghosh

For tabla maestro Bickram Ghosh, it is extremely necessary to curate a classical music present correctly. In keeping with him, curation is the important thing, which is why he locations nice emphasis on how he shapes the Naad Pageant, a novel fusion of conventional and modern sounds.

“I did it with the Serendipity Arts Pageant in Goa and the footfall has actually gone up. Individuals are not enamoured by stars, be it in cinema or music. In the present day, every part is about content material. ‘Naad’ is a conceptually curated present, which makes it attention-grabbing and that’s the reason folks like to come back,” he mentioned.

In actual fact, for the world-renowned Kolkata-based percussionist, curation has turn into an necessary a part of his career.

“I’ve been doing so for the final 25 years. Even in the present day, ‘Rhythmscape’ is common. I’m additionally a curator of the Venice Biennale 2026 and I’m going to Venice subsequent week. After that, I might be working in Germany on comparable tasks. So now, that is my career too,” he mentioned.

The fifth version of Naad Pageant, organised by Bharatiya Vidya Bhavan, Kolkata Kendra, in collaboration with the Shankar Ghosh Tabla Basis and curated by Ghosh himself, may also function the favored act of santoor legend Tarun Bhattacharya, together with the tabla maestro on Sunday at GD Birla Sabha Ghar, Kolkata.

“It has been a very fashionable act for the final 20 years. Wherever we carry out, we promote out. The final present this yr is Classi-People Kolab, that includes a fusion of classical and people music,” he mentioned. “I’ve positioned Naad from the very starting as a pageant that isn’t essentially a classical music pageant, however a classically pushed one. Indian classical music has been the harbinger of a number of genres which have emanated from it,” he added.

The three-day pageant has been divided into varied sections. Ghosh is especially excited in regards to the ‘Fading Traditions & Rising Sound’ phase, one thing he had curated for the Serendipity Arts Pageant just a few years in the past.

“There are lots of devices from the Indian classical custom which can be step by step changing into out of date. In case you have a look at the Shehnai, for instance, what number of shehnai gamers are there? The Sarangi has lowered by about 50 per cent or extra. I feel solely three folks within the nation play the ‘Surbahar’. So, these are the three devices we’re specializing in on this part. I’m presenting them in a barely fashionable format, with keyboard accompaniment, to present a way of a up to date soundscape,” mentioned Ghosh.

The pageant may also introduce Indrayuddh Majumdar’s new instrument, an electrical sarod that he has created. Different sections embrace a sitar recital by Kushal Das, Raga to Celluloid, which showcases the affect of ragas in Bollywood music and Dances of India, the place Jaya Seal Ghosh and Preeti Patel will current varied dance types of India.

Ghosh doesn’t mince phrases when he speaks about how Kolkata’s kids have taken to classical music; the demand has solely surged over time. Not too long ago, he additionally joined Anoushka Shankar and Arijit Singh on the stage in Kolkata, the place the latter sang ‘Maya Bhora Raati’, a Bengali music rendered by Lakshmi Shankar and composed by the late sitar maestro Ravi Shankar.

“I’ve a particularly shut relationship with Anoushka. She referred to as me and requested me to hitch. Later, she informed me that Arijit could be becoming a member of too. Arijit is a big star, however he’s a particularly good human being. His respect for seniors and his musical sincerity are unparalleled. Folks nonetheless name him a Bollywood star, however he’s doing his personal music in the present day. I feel Anoushka did one thing fantastic that day by bringing us all collectively and making a second. Via this, all of us remembered Pt Ravi Shankar most significantly,” mentioned the composer of acclaimed movies like ‘Jal’, ‘Little Zizou’ and ‘Pricey Maa’.