Indian classical music has a spiritual dimension that is rooted in the conception of music as a conduit for attaining the Ultimate Truth. The philosophical and spiritual traditions of ancient India conceived of Truth as being independent of narrow constricted considerations of caste, creed and culture, and Indian classical music has embodied this spiritual base for the cultivation of the arts that embraces diversity. It has assimilated within itself myriad influences as different as Persian music, Sufi music, Ghazals and the Bhakti music tradition. A quick glance at the greatest exponents of this traditional form – both in the Hindustani and Carnatic styles – reflects this fundamental spirit of ‘art as a spiritual endeavour that transcends barriers’: the vast majority of pundits and ustads have belonged to diverse cultural milieu. Ustad Bade Ghulam Ali Khan Sahib – widely acknowledged as one of the greatest artists and teachers of Indian classical music – found no contradiction between his faith and the rendition of compositions celebrating the celestial love of Radha-Krishna; and, Pandit Bhaskarbuwa Bakhale was perfectly at ease composing a kheyal on Hajrat Muhammad playing Holi. It is thus that Indian classical music reflects the assimilatory and unifying characteristics of Indian society and culture.

    We are at a point in history when a syncretic vision of society and culture that has characterised India for many thousands of years is under unprecedented threat. Social, political and religious divisions are on the verge of rending the secular fabric of this country asunder. The threat of India turning into a country torn apart by deep divisions along cultural, caste and communal lines is further exacerbated by the rampant and overwhelming presence of global market forces that seek to establish cultural hegemony in order to bring to fruition its vision of a culturally homogenous group of consumers. The popular music of today tends to largely reflect this reality: devoid of artistic merit but packaged to appeal to our baser instincts, most popular music disappears without a trace in the space of a few weeks, to be replaced by something of a similar quality. It jars the senses, rather than provide peace and succour.

    Satrangee is an endeavour to free music from the tentacles of these ills, by bringing about a renaissance of the tradition and ethos of Indian classical music. It’s ambitious aim is to once again enable music play the part of healing the divides and wounds of this country by emphasising the unifying, spiritual nature of art. To this end, Satrangee envisions a future where classical music reaffirms its pre-eminent social and cultural role through popular participation and acceptance, and heralds the birth of a nation that is united in diversity.