When Sushma Soma received an invitation to present her latest album, “Home,” at the ongoing Mahindra Kabira Festival in Varanasi, she questioned whether her blend of Carnatic classical sensibilities with contemporary themes, centered around environmentalism and sustainability, would resonate with a festival dedicated to Kabir—the prominent figure of the Bhakti movement.
As she delved deeper into the poet’s philosophy, marked by a personalized spiritual perspective, she discovered a profound “sense of rebellion” akin to the 15th-century saint, Kabir, who advocated for societal change through his poetry. This resonated with her.
“While Kabir’s poetry carries a strong spiritual undertone, it also critiques blind beliefs. He utilized his art, the power of his words, to awaken people… Centuries later, in ‘Home,’ I feel that same strong message urging people to take control of their lives and reflect on consumer choices, sustainability, and the environment. I believe it aligns seamlessly, and through the art of music, I hope to convey that. Additionally, the festival’s green initiative, explicitly detailing the measures taken, felt serendipitous,” expressed Soma in a phone conversation from Singapore, just before heading to Varanasi. There, she would present an acoustic set of her acclaimed new album as part of the sixth edition of the Mahindra Kabira Festival, held on the banks of the Ganga amidst the ritualized cycle of life and death.
Notably, PM Narendra Modi would also be present in Varanasi to inaugurate Kashi-Tamil Sangamam—a 30-day festival showcasing the culture of Tamil Nadu.
Born in India but raised entirely in Singapore, Soma’s introduction to the world of Carnatic music occurred through the renowned Suprabhatam of MS Subbulakshmi in her Tamilian household. While her teenage years embraced the tunes of Illayaraja played by her parents, she commenced classical vocal training at the age of four—initially due to parental encouragement to grasp her cultural roots. Her journey in Carnatic classical continued in Singapore, with six months of intensive training in Chennai under Lalitha Shivakumar, followed by ongoing mentorship under violinist-vocalist RK Shriramkumar.
However, her classical pursuit coexisted with the challenges of contemporary times, prompting her to confront dilemmas and pain. The tragic death of a pregnant elephant in Kerala, fed a pineapple stuffed with firecrackers, ignited her anger, transforming it into the poignant piece “The Elephant’s Funeral.” This composition, along with six other songs, showcased her prowess as a contemporary Carnatic artist willing to utilize her musical knowledge to address contemporary concerns.
At the Mahindra Kabira Festival, Soma’s performance would be followed by ‘Dohe jo Mohe,’ a presentation by puppeteer Dadi Pudumjee. The evening’s lineup includes performances by Shubhendra and Saskia Rao, with the finale featuring classical vocalist Aruna Sairam. Sairam’s intense concerts, often narrating tales of Krishna and Rama, would explore the realm of Kabir. The following morning, Hindustani classical vocalist Rama Sundar Ranganathan aims to create a dialogue between sagun and nirgun bhakti, presenting pieces by Nanak, Kabir, Meera, Swati Tirunal, and Tulsidas. A dastangoi presentation on Kabir by Fouzia Dastango, a gurbani recital by Jasleen Aulakh, and the grand finale by Bengaluru-based contemporary folk band The Raghu Dixit Project would round out the festival’s diverse offerings.