That voice from the hills

Shailaja Khanna

Sunanda Sharma is well-known as one of the most popular disciples of Padma Vibhushan awardee Girija Devi. A little known fact, however, is her Himachali origin. She was born in district Dah in Nurpur and spent the early years of her life absorbing the rich folk tradition of the Chamba, Punjab and Jammu region. The many influences have shaped her music.

How did you get into the world of classical music?

My father was a violinist trained by Pt Bhimsen Sharma of Shimla, and he taught me classical music. My grandfather used to play the tabla, and my father wanted to be a professional musician. However, due to financial constraints, he had to take up a job. He retired as principal of a school. My mother is from Jammu and used to teach me lovely songs from that region. I started performing at various temples in the Nurpur area from a young age. I went to college in Pathankot, did my Masters in music, but desperately wanted to learn from a professional singer.

My dream became a reality in 1990 when I performed at Harivallabh in Jalandhar. Appaji (Girija Devi) was there and asked to meet me. I went to her hotel room and she opened the door herself. With her open white hair and puja diya in the hand, she looked like a goddess. In our tradition, unmarried girls don’t touch feet, so I did a simple namaste. And I think she was surprised. She asked me to sing and I sang Ahir Bhairav. I think she liked it, and said she wanted to teach a girl from the Punjab region. ‘Will you come and learn?’ she asked me. I was delighted! And that’s how my training under Appaji started.

How difficult was it learning from her?

I lived like a daughter with her. I slept in her room, on the floor, at her home in Varanasi. In the nine months that I spent there, she taught me how to speak like a Benarasi, dress only in saris, cook Benarasi food. She said you have to absorb everything not just the singing style. She was very disciplined, like an army man. Many could not take the strict discipline and left. She wanted me to start from the beginning, and, in many ways, unlearn many things. She trained me to focus intensely to pick every nuance quickly. She would say, ‘Sleep less, do more riyaaz.’

Appaji wanted me to retain my inherent Punjab/Himachali lehza, but learn the rasta of Benaras gayaki. Tappa, a jerky genre of thumri developed in Punjab, was so easy for me to pick up; that harkat required was already in my voice. When she went to Calcutta, I would go there too. I learnt nonstop for nine years and kept visiting her later too. I remember my first solo concert was at the prestigious Tansen Samaroh in Gwalior.

Tell us about the classical music tradition in Himachal Pradesh.

It’s not that vibrant sadly. We are a very musical people though, it’s in our genes. Chamunda Devi temple has classical music concerts in the Navratras; it’s a very old tradition. In Sundernagar, Pt Paluskar’s anniversary is celebrated in August annually; in Kullu too there is a good festival. In Shimla, there are now annual classical music and dance festivals.

The inherent melody in me, I believe, is from my inheritance from Himachal. I love singing Himachali and Punjabi folk songs; wish I had more opportunities. “Chiriya da Chamba”, “Morni”… there are so many beautiful folk songs!

Tell us about your Norway connection.

I went to Norway on a Spic Macay tour in 2006. My husband’s family was very active on the music scene there. His father hailed from Jalandhar and there was an instant connect. When I had the chance to perform at Harivallabh with Appaji in 1996, she introduced me from the stage, “Maine Benaras ki Ganga Punjab ki aur bahaayi hai.” My husband was there and was very taken with me. I remember singing Raga Kedara… (We now have a daughter named Kedara). We met in Norway years later, and he played the tabla along with me. When I was returning to India, he asked if I would marry him. I said I did not want to leave India. He agreed and here we are.