CHENNAI: His Majesty King Charles III, the King of the United Kingdom, bestowed the prestigious Member of the Order of the British Empire (MBE) upon the acclaimed violinist, Jyotsna Srikanth, during his birthday honours list on December 12, 2023, at Windsor Castle, UK. This recognition, the third-highest civilian award in the UK, acknowledges her outstanding contribution to music on an international scale.
Hailing from Bengaluru, Jyotsna holds the distinction of being the first Carnatic musician and performer to receive this esteemed accolade. Renowned for her versatility in Carnatic music and seamless collaborations across genres, Jyotsna shares insights into her journey to the global stage and unveils details about her upcoming projects in a conversation with CE.
How did your musical journey commence?
My mother, a vocalist, introduced me to music from a very young age. By the age of three, she was already teaching me small songs. The turning point came when at the age of five, she took me to a concert by the legendary violinist Kunnakudi Vaidyanathan. The mesmerising sound of the violin left a lasting impression, leading me to imitate violin playing at home with two brooms. The passion ignited, and at the age of nine, I gave my first concert. Accompanying Balamuralikrishna at 15 marked another milestone. Discovering Ilaiyaraaja’s ‘How to Name It’ album fascinated me with Western violin techniques.
This led me to learn Western classical music, receiving a fellowship from Trinity College of Music London. Subsequently, my journey included playing for films, exploring various styles like Nordic and Irish folk. Moving to London brought unexpected opportunities. In 2004, I founded Dhruv Arts to promote South Indian music in the UK, emphasising Carnatic concerts. The London International Arts Festival, initiated in 2012 during the Olympic year, has evolved into a prominent world music festival, now in its 11th year across five venues. The focus has been on bringing mainstream exposure to Carnatic music while embracing diverse global influences.
What challenges did you face while promoting Carnatic music globally?
Promoting Carnatic music globally presented challenges, especially in regions where it was misunderstood. In some places, it was even considered a form of tribal music. To address this, I realised that mere performances in India were not sufficient. I needed to explain the concepts of our ragas. However, reaching only the elite theater crowd wasn’t enough. This realisation led to the formation of my fusion band, aimed at taking ragas to the masses.
Can you share your experience of becoming the first Carnatic musician to receive the Member of the Order of the British Empire (MBE)?
Receiving the MBE was a surreal experience. The announcement on the King’s birthday took me by surprise, and the investiture ceremony at Windsor Castle was a thrilling event. Wearing a sari for the formal occasion, I felt a deep sense of responsibility to contribute further to the music field.
How do you engage the younger generation, often unaware of classical music?
Adapting to different formats is essential. For instance, at the London Mela, attended by a diverse crowd unfamiliar with classical music, I incorporated ragas into beats, altering the delivery mode and packaging. Similar efforts are needed in India to bridge the gap between traditional and contemporary music.
Memorable moments that shaped your career...
Performing at Wembley Stadium for Prime Minister Narendra Modi and at Buckingham Palace for Queen Elizabeth were truly remarkable. These instances, challenging yet unforgettable, showcased the global recognition of Carnatic music.
Opportunities for the younger generation in classical music?
The younger generation has abundant exposure and opportunities in classical music. While mastering the basics, there’s room for experimentation and branching into various genres. The key is to reinvent classical music presentation methods to cater to different audiences.