The Fantastic Five
Krishnokoli, Sahana, Punam, Elita and Anila are five upcoming divas of the Bangladeshi music industry. caught up with them at Words ’n Pages and finds out what keeps these talented artists up and going
These ladies spent almost a bulk of 2007 on recording studios, musical shows on TV, concerts and on the pages of glossy magazines. Their CDs are played over and over again on stereos across the country. And when it came to interviewing them, this writer could not agree more on the fact that these upcoming divas have immense amount of brains and beauty along with their vivacious voices.
New Age: What problems do you usually face as women artistes working in our entertainment and media industry?
Anila: The biggest problem I faced till date was the teasing comments from the male listeners at concerts. It becomes so embarrassing at times when I bring my parents along with me.
Punam: I agree but I also noted that no one spares a single band member playing off scale at rock concerts. In any case, comments never bothered me really.
Krishnokoli: this is a very common problem in the subcontinent….as teasing is a direct result of the audience’s easily stirred sentimentality. But, I have met female singers, who although are offended by passerby comments on roads and streets, get along fine while performing onstage. (giggle)
Sahana: a lot depends on the genre of songs that we are performing. I think the male crowd reacts differently to slower songs than to the ones that incorporate dance moves and thus have greater visual values. I usually do not see female artistes facing this problem even in places like Kolkata or Mumbai.
The heavily observant Elita jumps from her chair, after listening to others, all this while and says: I have to perform for both niche and mass audiences. Every now and then when I am performing a pop number in a mass gathering, there will be an odd individual throwing a discriminative remark like: ‘oi beti akta folk gaan ga na!’ – ‘sing a folk song lady!’
(laughter all around)
Everyone agrees with Sahana. The male population seems to enjoy teasing the females when they portray a sensuous image.
Sahana: sometimes though, we do underestimate our audience, as it is embedded in our mentality. I recently came across trendy kids in baggy pants (the ever famous ambassadors of the ‘yo’ culture, acknowledged as ‘cool’ within themselves while being criticised by the rest), who actually complemented my songs of Tagore. This is so contrary to the image we have of them in our heads.
Elita and Krishnokoli: We think the process of becoming a renowned female singer is way more difficult for us, particularly as our industry lacks professionalism and there are obstacles for us in every step. For example, it becomes ‘necessary’ to dance with our songs when there is no need for it. We also need to have strange hairdos and are asked to take ‘glamorous pictures’ by sleazy album producers.
All: Music is an art and do we have proper scope to work? The first thing we need, right now, is proper schooling.
NA: A variety of songs and a lot of remix and remake songs are the latest trend in our industry. What do you think?
Elita: as other genres are emerging, the scope of music is getting wider and becoming more diverse. This has a positive effect on our creativity.
Krishnokoli: Too much experimentation is going on! I think we should learn music before experimenting as all forms of music, coming out of our industry currently, is not acceptable.
Sahana: if anything fresh comes out of this experimentation, then that is fine.
Punam: with this rise in options, more and more singers are opting to go back to their roots, with a motive to experiment with them. Their, going back to the basics, is really excellent.
Anila: I think it is a very good sign. People can now pick their favourites from a wider array of genres. This has also given birth to healthy competition. Take for example an artiste from a different genre than mine. His or her success will motivate me to do better in the area I specialise. This is when I will come up with a better record. The standard of music in the market therefore improves by folds.
Also, recently, the use of other instruments like violin, flute and some other non-conventional instruments to bring variety in songs, have increased. This has also increased our respect toward the musicians, who play these instruments.
At this point, the discussion changes to the topic of remix and remake.
Krishnokoli (smilingly) complains: when musicians have nothing better to do, they will sit and remix songs.
Sahana: well, with elements of good remixes, songs actually turn out pretty nice.
Punam: I think, in a lot of cases, this is a positive consequence. For example, I have always enjoyed remixes of Bally Sagoo more than the originals.
Elita: if added elements can beautify an existing song (which is by the way a remix), then why not!
Anila seemed to be the most ardent listener of this particular topic as she has sung for a bunch of remixes. She opines: I think it greatly depends on the part of the producers. Suppose I want to sing a song which was previously sung by a male. In that case, definitely it needs to be remade.
The best thing about remixes is that sometimes when I need to sing my own songs at concerts, I receive limited applause. However, as soon as I start singing daak diyachen doyal amare, the whole auditorium sings with me. People immediately connect to the song and in a way, I feel as if I am reviving an old song. The feeling is great.
NA: A lot of talent hunt contests are being organised by the various television channels. To what extent, do you think, these contests are helping?
Elita: I always favour contests. However, these are not being conducted professionally. The telecom and other multinational companies sponsoring these events are not seeking for a professional musician or singer. SMS voting can never define one as an artiste and moreover, it is the SMS which are buying the artistes these days.
Sahana: I had a friend, Aditi Paul, who was immensely popular in the Indian Idol, had withered away half way through the contest because of SMS voting.
The judges for the contests need to be chosen right. Because if a musician like Anu Malik, who steals others music, can become a judge of a show like ‘Indian Idol’, then that does tell us the standard of the talents being sought. I, for one, would not want to take part in such contests.
Krishnokoli: I remember a female contestant in one of these contests, lost because she was not good looking enough and thus could not manage enough votes.
Anila: I think that the extent to which these TV channels are now hosting these contests to compete with their neighboring channels in terms of monetary benefits, the promotion of talented singers are gradually becoming a second priority to them.
Punam makes a positive comment: These talent hunts are straining and bringing in very talented musicians from remote parts of the country. However, those who are winning, despite being promised an extensive list of rewards, end up with nothing.
Krishnokoli: Although products are coming out, we are facing a constant dearth for good producers. The newcomers require equally talented producers to guide them into becoming the artist they aim to be.
NA: What is your standpoint about female singers in Bangladesh, in comparison to those from India?
Krishnokoli: I think India has a long history of cultural practice and thus, benefit with a non-compromising attitude towards singing. Almost every artiste there is well taught.
Anila: I think we are suppressed by a male-dominated society. In some cases, men love to impose the religion on us wrongfully, stating that other than a woman’s parents, children and husband, no one else should be allowed to listen to her voice: hence no singing.
Sahana: actually, appreciation over here is less. In India, it is considered a great quality if a female house-maker can sing properly.
Elita adds to the conversation: It is essential for us female artistes to receive professional help and support like our Indian contemporaries. We still do not receive proper royalty for our songs and not all our CDs are reaching the masses.
In order to be heard by all, the enhancement of our communication and distribution channels is necessary. Besides that, getting a record deal in India is not a matter of joke. One really needs to be worthy to receive an album deal in the first place; something we get here extremely easily.
Punam and Anila: We are still lagging behind as we are still starting from scratch. It has not been long since our Independence when we lost a lot of intellectuals, musicians and cultural activists in the 1971 genocide.
NA: What are the prospects of becoming a musician in Bangladesh?
(A veil of disappointment appears on the faces)
Elita: I do not think there is enough money circulating in our industry. This is straining the proper payment of royalty to artistes.
At this point Krishnokoli, frustratingly asks: I would like to add to Elita’s perspective here. Why do the album makers face problems at paying especially the female artistes?
Both of them then point out that besides this, record label owners do not keep track of the album’s sales figures, once a new album is released.
Krishnokoli and Elita: How can anyone take music professionally in this state!
Anila: There is a lack of good female composers. Singers solely, will not do much to bring a balance in our industry. Presentation always takes over genuine talent while making and performing songs. We also lack proper logistic support.
Sahana: women here do not feel encouraged to become composers and moreover, there is a scarcity of music schools, where women can learn to play different instruments.
Punam: the people of our industry need to become more professional work wise. The artistes should have a stronger personality and mutual respect for each other if they want to rise to a respectable level.
Sahana: in order to gain professionalism, our music industry needs huge backup and support from the media industry.
Krishnokoli: improvement of our professionalism will come the day when devotion becomes our greatest quality. Artistes need to dedicate more time to practice and for that they need that extra support from their families.
All five of them agreed on a basic point – proper respect, professionalism and the introduction of an efficient royalty system. In a nutshell, these three elements have to be present in order for talented female artistes to continue a career in music.
New Age: What problems do you usually face as women artistes working in our entertainment and media industry?
Anila: The biggest problem I faced till date was the teasing comments from the male listeners at concerts. It becomes so embarrassing at times when I bring my parents along with me.
Punam: I agree but I also noted that no one spares a single band member playing off scale at rock concerts. In any case, comments never bothered me really.
Krishnokoli: this is a very common problem in the subcontinent….as teasing is a direct result of the audience’s easily stirred sentimentality. But, I have met female singers, who although are offended by passerby comments on roads and streets, get along fine while performing onstage. (giggle)
Sahana: a lot depends on the genre of songs that we are performing. I think the male crowd reacts differently to slower songs than to the ones that incorporate dance moves and thus have greater visual values. I usually do not see female artistes facing this problem even in places like Kolkata or Mumbai.
The heavily observant Elita jumps from her chair, after listening to others, all this while and says: I have to perform for both niche and mass audiences. Every now and then when I am performing a pop number in a mass gathering, there will be an odd individual throwing a discriminative remark like: ‘oi beti akta folk gaan ga na!’ – ‘sing a folk song lady!’
(laughter all around)
Everyone agrees with Sahana. The male population seems to enjoy teasing the females when they portray a sensuous image.
Sahana: sometimes though, we do underestimate our audience, as it is embedded in our mentality. I recently came across trendy kids in baggy pants (the ever famous ambassadors of the ‘yo’ culture, acknowledged as ‘cool’ within themselves while being criticised by the rest), who actually complemented my songs of Tagore. This is so contrary to the image we have of them in our heads.
Elita and Krishnokoli: We think the process of becoming a renowned female singer is way more difficult for us, particularly as our industry lacks professionalism and there are obstacles for us in every step. For example, it becomes ‘necessary’ to dance with our songs when there is no need for it. We also need to have strange hairdos and are asked to take ‘glamorous pictures’ by sleazy album producers.
All: Music is an art and do we have proper scope to work? The first thing we need, right now, is proper schooling.
NA: A variety of songs and a lot of remix and remake songs are the latest trend in our industry. What do you think?
Elita: as other genres are emerging, the scope of music is getting wider and becoming more diverse. This has a positive effect on our creativity.
Krishnokoli: Too much experimentation is going on! I think we should learn music before experimenting as all forms of music, coming out of our industry currently, is not acceptable.
Sahana: if anything fresh comes out of this experimentation, then that is fine.
Punam: with this rise in options, more and more singers are opting to go back to their roots, with a motive to experiment with them. Their, going back to the basics, is really excellent.
Anila: I think it is a very good sign. People can now pick their favourites from a wider array of genres. This has also given birth to healthy competition. Take for example an artiste from a different genre than mine. His or her success will motivate me to do better in the area I specialise. This is when I will come up with a better record. The standard of music in the market therefore improves by folds.
Also, recently, the use of other instruments like violin, flute and some other non-conventional instruments to bring variety in songs, have increased. This has also increased our respect toward the musicians, who play these instruments.
At this point, the discussion changes to the topic of remix and remake.
Krishnokoli (smilingly) complains: when musicians have nothing better to do, they will sit and remix songs.
Sahana: well, with elements of good remixes, songs actually turn out pretty nice.
Punam: I think, in a lot of cases, this is a positive consequence. For example, I have always enjoyed remixes of Bally Sagoo more than the originals.
Elita: if added elements can beautify an existing song (which is by the way a remix), then why not!
Anila seemed to be the most ardent listener of this particular topic as she has sung for a bunch of remixes. She opines: I think it greatly depends on the part of the producers. Suppose I want to sing a song which was previously sung by a male. In that case, definitely it needs to be remade.
The best thing about remixes is that sometimes when I need to sing my own songs at concerts, I receive limited applause. However, as soon as I start singing daak diyachen doyal amare, the whole auditorium sings with me. People immediately connect to the song and in a way, I feel as if I am reviving an old song. The feeling is great.
NA: A lot of talent hunt contests are being organised by the various television channels. To what extent, do you think, these contests are helping?
Elita: I always favour contests. However, these are not being conducted professionally. The telecom and other multinational companies sponsoring these events are not seeking for a professional musician or singer. SMS voting can never define one as an artiste and moreover, it is the SMS which are buying the artistes these days.
Sahana: I had a friend, Aditi Paul, who was immensely popular in the Indian Idol, had withered away half way through the contest because of SMS voting.
The judges for the contests need to be chosen right. Because if a musician like Anu Malik, who steals others music, can become a judge of a show like ‘Indian Idol’, then that does tell us the standard of the talents being sought. I, for one, would not want to take part in such contests.
Krishnokoli: I remember a female contestant in one of these contests, lost because she was not good looking enough and thus could not manage enough votes.
Anila: I think that the extent to which these TV channels are now hosting these contests to compete with their neighboring channels in terms of monetary benefits, the promotion of talented singers are gradually becoming a second priority to them.
Punam makes a positive comment: These talent hunts are straining and bringing in very talented musicians from remote parts of the country. However, those who are winning, despite being promised an extensive list of rewards, end up with nothing.
Krishnokoli: Although products are coming out, we are facing a constant dearth for good producers. The newcomers require equally talented producers to guide them into becoming the artist they aim to be.
NA: What is your standpoint about female singers in Bangladesh, in comparison to those from India?
Krishnokoli: I think India has a long history of cultural practice and thus, benefit with a non-compromising attitude towards singing. Almost every artiste there is well taught.
Anila: I think we are suppressed by a male-dominated society. In some cases, men love to impose the religion on us wrongfully, stating that other than a woman’s parents, children and husband, no one else should be allowed to listen to her voice: hence no singing.
Sahana: actually, appreciation over here is less. In India, it is considered a great quality if a female house-maker can sing properly.
Elita adds to the conversation: It is essential for us female artistes to receive professional help and support like our Indian contemporaries. We still do not receive proper royalty for our songs and not all our CDs are reaching the masses.
In order to be heard by all, the enhancement of our communication and distribution channels is necessary. Besides that, getting a record deal in India is not a matter of joke. One really needs to be worthy to receive an album deal in the first place; something we get here extremely easily.
Punam and Anila: We are still lagging behind as we are still starting from scratch. It has not been long since our Independence when we lost a lot of intellectuals, musicians and cultural activists in the 1971 genocide.
NA: What are the prospects of becoming a musician in Bangladesh?
(A veil of disappointment appears on the faces)
Elita: I do not think there is enough money circulating in our industry. This is straining the proper payment of royalty to artistes.
At this point Krishnokoli, frustratingly asks: I would like to add to Elita’s perspective here. Why do the album makers face problems at paying especially the female artistes?
Both of them then point out that besides this, record label owners do not keep track of the album’s sales figures, once a new album is released.
Krishnokoli and Elita: How can anyone take music professionally in this state!
Anila: There is a lack of good female composers. Singers solely, will not do much to bring a balance in our industry. Presentation always takes over genuine talent while making and performing songs. We also lack proper logistic support.
Sahana: women here do not feel encouraged to become composers and moreover, there is a scarcity of music schools, where women can learn to play different instruments.
Punam: the people of our industry need to become more professional work wise. The artistes should have a stronger personality and mutual respect for each other if they want to rise to a respectable level.
Sahana: in order to gain professionalism, our music industry needs huge backup and support from the media industry.
Krishnokoli: improvement of our professionalism will come the day when devotion becomes our greatest quality. Artistes need to dedicate more time to practice and for that they need that extra support from their families.
All five of them agreed on a basic point – proper respect, professionalism and the introduction of an efficient royalty system. In a nutshell, these three elements have to be present in order for talented female artistes to continue a career in music.
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