Interview with  GHATAM SRI T.V. VAASAN

who accompanies the 4hour Concert in Mudhra's Seventh Fine Arts Festival on 14th December 2001

 
Baskar : When were you initiated into music?


From when I was about seven, but serious music was inculcated from the age of ten. My brother and guru T.V.Gopala- krishnan used to keep me on his lap and practice music. We are actually a family of musicians since ten generations. My grandfather was a violinist, my grandmother's side used to sing for Kathakali. My father taught me vocal music and I can sing quite well. Of course, Mridangam was taught by my brother TVG.
 
Baskar : About your family....


We are five brothers. My eldest brother is T.V.Gopala-krishnan. The next is in Railways and third is T.V.Ramani, he did six years gurukulam under Lalgudi Gopala Iyer. I learnt under Velukudi Nair initially. At that time there were few ghatam players only. So, Velukudi Nair used to take me along for his concerts and give me opportunity to play the ghatam. He used to even give a portion of his remuneration to me. 
Baskar :

What about finger techniques?


My guru used to offer guidelines based on his experience and observing stalwarts play. My inspiration was Sri Palghat Sundaram, his play was filled with substance.

Baskar :

Being able to play both mridangam and ghatam, do you perceive any difference between the two?


Yes, there is a lot of difference but because of my hard practice and clear cut idea about the technique of each, I can easily play both. I personally feel that mridangist is the lead person and I must follow him only.
 
Baskar : About your academic qualification....

I did my pre-degree in Printing Technology. I was working in a press in 1971 but then I quit it to take music as a full-time profession.
 
Baskar : When did you come to Madras?

I frist got a job in AIR Mangalore. My father used to offer valuable suggestions and advise us to practice hard.
 
Baskar : As a ghatam player, which do you think is the ideal medium for expression?


In my opinion, vocal is the most powerful medium. Now only, male artists sing in 3/4 or 1 sruti; earlier they used to sing in 1 1/2 or 2 sruthi. I feel that the natural sound of the ghatam (unaided by mike) should gel with the vocal or instrument. The sowkhyam should be inherent in the instrument itself.
Baskar :

Do you perceive any difference with regard to exposing your talent, now and earlier?



Earlier, people were not critical about what we played. They only enjoyed it, the audience were totally with us. Now, we are in a puzzle about what the audience actually expect from us.
Baskar : About the music then and now?

I used to feel some freshness in the music of stalwarts like Chembai, Alathur etc. Now, I feel this freshness is a bit lacking. The main artist is responsible for inspiring the co-artists and audience.
Baskar : Vasan as a full time professional, do you think you would have achieved more then?

AIR has played a major role in making me popular, it has given me other avenues also to serve music. May be, I wouldn't have been so adventurous if I were just a ghatam artist. Radio has made me carry out research on various other types of music also, it has given me a specific vision and made me think broadly about music.
 
Baskar : What is the role of a Staff Artist in All India Radio?

It depends on how much he involves himself in the organisation. I do a lot of jobs apart from playing because my contention is that I am working for music and the organisation which is for music and Indian culture. Of course, only few people think that way.
 
Baskar :

Do you perceive any change in the music trend?

We used to listen intricately to all the stalwarts. I am left wondering whether the youngsters of today bother to listen to seniors the way we did . We used to travel nook and corner to listen to stalwarts like Chembai and Semmangudi.
  
Baskar : Is it possible to take ghatam as a full-time profession?


There is a profusion of ghatam players now. People are not very bothered about the techniques. It is a convention to play the ghatam without wearing the shirt but now people wear even jibba and play concerts! Now, this does affect the tonal quality but then how many people are bothered about it? Of course, I am true to myself in this regard.
Baskar : Apart from playing, you also have a deep knowledge about the instrument also. You have also given lec-dems about instruments, how did you equip yourself on this subject?

My brother had a mrudangam maker in his house, thus I had practical experience by observing him.
 
Baskar : Has this exhanced your creativity?


Definitely, this has the advantage. Because I understand the richness of the mrudangam, I know where I should contribute musically and where I should observe restrain. Again, if I sense there is some problem with the mrudangam, I supplement it with my inputs so as to make the concert wholesome.