Aruna Sairam On The Thrillana Project: ‘I Want Rhythm To Be An Independent Voice, Not Just Accompaniment’ | Exclusive

Here are the excerpts:

Carnatic music has deep rhythmic intricacies. How does your Thrillana Project reinterpret these structures in a contemporary context, especially in light of Zakir Hussain’s boundary-breaking work?

Ustad Zakir Hussain’s approach to rhythm as an evolving, living conversation deeply resonates with the essence of the Thrillana Project.

While the thillana is traditionally a vibrant, rhythmically intricate form, we reinterpret its structures by introducing polyrhythms, syncopations, and influences from world music like jazz, blues, and other percussive traditions, including vocal percussions. This allows us to celebrate the core of Carnatic rhythm while exploring new rhythmic dimensions.

Percussion in classical vocal music often takes a secondary role. How does this festival allow you to spotlight rhythm as an equal partner in your performance?

The Mahindra Percussion Festival provides a space where rhythm is not just an accompaniment but a dynamic force shaping the performance.

Traditionally, the mridangam, ghatam, and kanjira support the vocalist in a chaste Carnatic concert. But for this presentation (The Thrillana Project) at the MPF, rhythm becomes an independent voice. By engaging in rhythmic dialogues, exploring cross-cultural percussive interactions, and allowing percussionists to lead sections of the performance, we elevate rhythm to an equal footing with melody. This shift brings new dimensions to classical music and makes the experience more immersive.

Zakir Hussain often spoke about the conversation between melody and rhythm. How do you create this dialogue in your collaborative projects?

Just as Ustad Zakir Hussain envisioned rhythm as a storyteller, I strive to weave rhythm into my melodic expressions. In my collaborations, I often allow rhythmic structures to shape my improvisations, responding vocally to intricate tala variations. This creates a two-way conversation where melody and rhythm inspire each other in real time.

What unique rhythmic structures or talas will the Thrillana Project explore during the festival, and how does Zakir Hussain’s legacy inspire these choices?

In this presentation, we will explore complex rhythm cycles like Khanda nadai and Misra nadai while embracing improvisational rhythmic textures influenced by Zakir Hussain’s innovation.

The Thrillana Project will feature compositions in varied rhythmic cycles and spontaneous rhythmic modulations. Inspired by Zakir Hussain’s ability to blend traditional tala structures with unpredictable rhythmic phrasing, we incorporate rhythmic layering techniques that bridge Indian classical and contemporary global rhythms.

The Thrillana Project reimagines the traditional Thillana by infusing it with global musical elements. What inspired you to embark on this fusion journey, and how do you balance maintaining the essence of Carnatic music while integrating diverse genres?

The thillana, with its strong rhythmic foundation, naturally lends itself to cross-genre exploration. My inspiration came from seeing how rhythm acts as a universal language. By carefully selecting elements that complement rather than overpower the composition—such as modal harmonies from Western music or polyrhythms from African drumming—I ensure that the core of the thillana remains intact.

In conceptualizing the Thrillana Project, how do you select which global musical influences to incorporate? Is there a specific criterion or artistic vision that guides these choices?

For this project, I have sought musical elements that share a rhythmic and emotional synergy with Carnatic music. The selection is intuitive yet deliberate.

I look for rhythmic structures and tonal colors that align with Carnatic aesthetics. Whether it’s the microtonal inflections of Middle Eastern music or the cyclic pulse of African drumming, the guiding principle is that these influences should enhance, not dilute, the essence of the thillana.

Your rendition of the “Kalinga Narthana Thillana" vividly portrays the dance of Lord Krishna upon the serpent Kaliya. Could you elaborate on the creative process behind this interpretation and how you blend traditional Carnatic elements with contemporary stylistic nuances?

The Kalinga Narthana Thillana is inherently dramatic, with built-in rhythmic tension that mirrors Krishna’s movements.

In my interpretation, this is a story of various emotions in Krishna’s journey. I seek to enhance this with vocal modulation, rhythmic embellishments, and strategic silences to mimic the undulating motion of the serpent and Krishna’s dance. Additionally, subtle infusions of contemporary rhythm patterns make the composition more immersive for modern audiences.

How do you ensure that your rhythmic innovations resonate with both traditional audiences and new listeners?

The key is to maintain the essence of the composition while introducing rhythmic variations gradually to show another dimension to the song. I often begin with a familiar pattern before expanding into new rhythmic spaces, ensuring that both traditionalists and newcomers can appreciate the evolution of the sound.

How do you navigate the challenges of merging different musical traditions, and what have been some of the most rewarding aspects of these cross-genre partnerships?

Respect for each tradition and openness to learning are crucial. The greatest reward is discovering new dimensions within Carnatic music.

Every tradition has its own melodic and rhythmic sensibilities, and the challenge lies in finding common ground without losing authenticity. Collaborations have expanded my artistic vocabulary, allowing me to experience Carnatic music from fresh perspectives and make it more globally relevant. I have been doing this kind of collaborative presentation for several years now and always look for new formats.

Your vocal style blends intricate gamakas with smoother phrasing found in Western styles. How do you technically adjust your voice for these transitions?

Carnatic gamakas are highly intricate, requiring microtonal precision, whereas Western phrasing often emphasizes smooth legato.

I consciously adjust my breath support and articulation depending on the stylistic demand, ensuring a seamless transition between the two approaches.

Do you approach the kalpana swara section differently when performing a thillana in a fusion context?

In a fusion setting, I experiment with different rhythmic groupings and phrasing techniques to align with the global musical elements at play.

There is very limited scope for kalpana swaras in a thillana because the composition itself lends intricate swaras. The intent is to remain true to the thillana’s emotional and melodic essence.

Can you share an experience from the Thrillana Project that significantly shaped your artistic journey?

I have been performing thillanas as part of my Carnatic presentations for a long time now.

My co-producers, KG Ramnarayan and KG Vishwanath, suggested that we work on a project that not only highlights the various aspects and beauty of a thillana but also explores how we can present it in a contemporary sonic soundscape while incorporating melodic and rhythmic layers to create a unique, immersive experience for the listeners.

While working on the project, I had multiple interactions with my co-artistes and was able to see their unique perspectives. Artistes like Sangeet Haldipur bring fresh perspectives to a project like this, creating a wholesome sonic space.

How has the Thrillana Project expanded the global reach of Carnatic music?

This is the debut performance of the Thrillana Project, and I am proud to present it as part of the MPF.

The project has the scope of introducing Carnatic music to newer audiences who may not be familiar with its intricacies. By presenting it in a format that bridges genres, listeners from diverse backgrounds can find connections to its rhythm and emotional depth. In the future, I hope to reach even more audiences through this unique format.

What future directions do you envision for the Thrillana Project?

I see the project evolving into a platform that not only bridges cultures but also educates and inspires young musicians to see Carnatic music as an ever-expanding art form.

The plan is to expand collaborations, integrate new rhythmic forms, and explore multisensory immersive experiences for listeners. We are also actively considering recording and releasing individual pieces on digital music platforms over the next few months.