Desert Kats- Rajasthani Folk Music Band with Zero Electronic Influence
A musically throbbing culture, Rajasthan has always had a vast repository of music. Prolific bands and music troupes from Rajasthan bedazzle audiophiles across the year on social occasions, music festivals, family gatherings and weddings, giving them an indelible color of resplendence and vibrancy. Desert Kats, the full-of-beans, folk music band from Rajasthan steered by the talented Khan brothers Qasam, Aslam and Pathan from the Langha community never fail to pump up the crowd with their unbridled energy like they recently did at the IPRS Stage in Mumbai. IPRS in a heart-to-heart chat with the band brings forth their music culture and concern for folk music
Read on to know more…
Q. How is your band Desert Kats different from the rest of the music groups originating from Rajasthan?
A. Among other differentiators it is our sound that remains uniquely our own. We are one of the few performers that have scrupulously stated away from Electronic influences which are par for course in almost every musical concert across the globe. This has also brought us close to a dedicated fan base that keep growing. That we stay true to this feature in our performances means that we use double the number of instruments even a 100-piece orchestra to compensate for the electronic gadgets or instruments. Desert Kats is a pure folk music band. Dholak, Tabla, Saarangi, Khartal and Alghoza are our primary instruments. Wood and skin are our medium of musical expression apart from our melodies. Mouth percussion that add a level of exuberance to the act also is an integral part of our performances and is a much appreciated by listeners all over. We are very particular about what goes into our repertoire .
Q. What does your set consist of for a live audience performance?
A. A typical day among music lovers is around a couple of hours in which we do a mix of traditional and original stuff. Charkha is our own creation. The lyrics and the tune are all created by us. Among our other presentations are works of Bulleh Shah, Kesariya Balma, Morni Baga Ma Bole to name a few.
Q. Can you tell us about your song Charkha which is quite a raging hit?
A. Charkha (Spinning wheel) is about a tribute to the humble spinning wheel that has been a source of income and living for many households across the country. The song talks about how the charkha, apart from its use has also managed to evoke gossip among the women-folk of the neighborhood who are overcome by envy toward the women supporting the family income through the Charkha. It is a tribute to the Charkha but in a light vein.
Q. What are your musical tastes and influences over the years?
A. Folk music is something that we keep digging all through as it is also the main stay of our performance. We adore listening to a lot of Sindhi and Saraiki folk songs. Nusrat Fateh Ali Khan is one of our favorite artists. We listen to everything but film music is a miniscule part of our taste.
Q. Like classical musicians have to learn everything about Indian Raag music it is said that a folk musician should refrain from classical music as it might take away their natural flair, what is your take on this?
A. I think this is a misconception that needs to be corrected. Folk music is ancient and there is a plethora of Raag based compositions in folk music. Many of these are difficult and complex in composing and rendering. It will only make the artist explore and perform better when he is trained and rooted in classical music. Classical music Taalim (Learning) and Riyaaz (Practice) is a must. We have had the privilege of performing with classical maestros like Ustad Zakir Hussain, Sitarist Anoushka Shankar, on an international platform. Our shows with Kathak exponent Kumudini Lakhiya also won us plaudits.
Q. What do you think goes in the making of a complete folk musician?
A. It is a combination of several factors that goes into the mix. Many of our children are born musicians as they witness and constantly absorb music played and performed around them. We do our bit in tapping their natural potential and train them only after they have, on their own, progressed in the choice of their art which could be singing or playing an instrument. The other way to learn is through proper formal training. We belong to the Langha community. Music learning aspirants irrespective of caste or religion can train with us like they can in any other style of music like Punjab, Gujarat, Maharashtra.
Q. How are you doing your bit in promoting the music of your Gharana
A.It has been 12 years since we are running a music school “Sur Sangeet Langha Vikas Sanstha” in Jodhpur, Rajasthan, for children from all communities. We do this as a service and do not charge fees for this.
Q. Who are the artists you would like to collaborate with in the coming times?
A. We are open to collaborating with any artist as we have been for some time. More important for us is being treated with the love and respect every artist deserves. In our opinion every musician; Folk, Classical or Western, put in great effort to reach where they do and need to be treated equally. This is paramount. There are many occasions when we end up being treated in an insensitive manner. We are here to go beyond the routine of a business transaction. We would like to mention here that IPRS has always given us opportunities and respected our talent. IPRS Stage, at the Kala Ghoda Festival, is our third performance under the aegis of IPRS. With IPRS, along with appreciation, our talent fees are never compromised and reach us promptly without us requesting them
Q. How has the digital era influenced your activities as a music group?
A. Desert Kats is a direct offshoot of the digital era. It is a brand-new unit active for the last 2 years and has managed to impress organizers and the relevant authorities to an extent that we’ve performed in 5 music and cultural festivals; 3 in India and one each in Iran and Bhutan. These were organized by their governments. We have had quite an incredible response in all our performances.
Q. Can your performances alone sustain you for the year or do you need other sources of income?
A. To an extent our performances can sustain us, but the larger work we aspire to do; that of promoting folk music stays on the backburner as sustaining it becomes a financial ordeal.
Q. How do you want the government to help you in your endeavors?
A . We would request the government to help us with a permanent place to establish our school. Rented premises,that we utilize are of little relevance. As we speak, unfortunately our school with almost 50 children has been closed for a year as we had to vacate the premises. The overhead costs including the salary of the tabla, dholak, sarangi, vocal music teachers, are not met on many occasions. We would request the government support in the area. This will go long way in helping us promote our folk music.
Q . What would be your message to the public and lovers of folk music in general?
A. We would request people to keep listening and attending folk music concerts whenever they can. It’s the only way that our rich folk music culture can avoid extinction from India. On a broader scale we mean the folk music of Rajasthan and all other parts of India. It is also the only reason for us to start the music school. The patronage for folk music has to come from the audiences