Sweeter than honey

She greets you with a sweet smile that touches you instantly. A popular singers of present-day Asomiya music scenario, she is blessed with one of the sweetest voices you will ever hear. Her beautiful rendition of the theme song, ‘Rongmon Rongmon’ of the 33rd National Games, Guwahati has been a chartbuster. As the interaction progresses , you uncover hidden realms of her personality, and you realize that she is not only blessed with a sweet smile and a sweeter voice, but with a persona that is, put it simply, Sweeter than honey.
An achiever both in academics and on the musical front, Sangita Kakati was born in Chaygaon, to Dr. Surendra Narayan Kakati, and Anjali Kakati. Dr. Surendra Narayan Kakati was a government doctor, but since the Chaygaon area had no other doctor for miles around, he gave up the lucrative government job to start private practice, providing yeoman’s service to the people of the area for years.
Regarding her name, Sangita Kakati has an interesting story to tell. She must have been about three-four years then. One day, as she was hopping about, singing something to herself, with all the joviality and innocence of a toddler, her ever-observant mother told her: “majoni, your voice is so sweet, you sing so beautifully...I’ll call/name you Sangita.” And thus probably her destiny was sealed in the seven letters of her name. However, it was through the elegant Xatriya dance that Sangita began her tryst with the world of art and culture. Her guru was Nagen Lahkar. Due to certain unavoidable circumstances when the Xatriya classes were discontinued, her parents decided to enroll her (as well) as a student of Pandit Karuna Shankar Thakuria, under whom her elder sisters Nandini and Ajanta Kakati were already taking their lessons in vocal classical. As a student young Sangita proved to be sincere and hardworking. Pandit Karuna Shankar Thakuria beamed at his young student’s quick and superb progress made possible as much due to her talent as to her dedication and sincerity. Soon enough young Sangita had won a national level ‘Talent Search Scholarship’ under the Ministry of Culture and Human Resource Development, Government of India. At that time, only eight persons could get this scholarship from one state, and that too from the four branches of art: vocal classical, classical dance, painting and instrumental (Tabla). Thus, to get this scholarship was not an easy task. On top of that it was a challenge to retain this scholarship: for, there used to be a reviewing of the progress made by a student after every six months, wherein persons appointed by the Centre would come over to take a test-of-sorts: if a student’s progress wasn’t found to be satisfactory, the scholarship might even be curtailed. This made her doubly serious and sincere towards the art. The fact that she continued receiving this scholarship for eight consecutive years, up to her Higher Secondary level bears testimony to her dedication and sincerity. In the meanwhile, Sangita had shifted base to Guwahati: after having passed Matriculation Exams from Chaygaon High School with a first division and letter marks in General and Advanced Mathematics, she took admission in the Science Stream of Cotton College after. After her HS however, she shifted to the arts stream, for by then she had found her métier in Music (specifically in Singing). In 1989, she graduated from the Gauhati University as a student of English literature with flying colours. After which she shifted her base to Pune and then to Mumbai (then Bombay) where she stayed for a few years before returning to Asom. Yet in that short span of a few years she managed to carve a small yet significant space for herself: significant (not only because of the short time but also) because it was a time when there were no talent hunt shows to catapult one directly into stardom, nor had she any Godfather in the industry; added to the fact that she went from a relatively obscured corner of the country. Yet she managed to get up to where most upcoming singers could reach after prolonged toil of many years. Yet never for once did she let her extra-curricular activities hamper her studies. Throughout her student years, she managed to balance her studies and musical pursuits with perfect élan. While doing her graduation in Cotton College itself she had acquired both her Bachelor of Music (B.Mus) and Master of Music (M.Mus.) degrees from 'Akhil Bharatiya Gandharba Mahavidyalaya Mandal', Mumbai. At the same time, she also took lessons in ‘khayal’ and ‘bhajan’ under Deben Sarmah. In 1986 while still in College, her first audio album ‘Sowansiri’ was released. Produced by her father and the songs tuned by renowned music director and singer J.P.Das, this album was widely appreciated, especially in the musical circles. In addition, it was because of her wonderful rendition in this album that soon she earned her first major break in Nip Baruah’s ‘Aai Mur Janame Janame’, which had music by Anupam Choudhury. This film, where she sang five songs, earned her the Best Playback Singer Award in 1988 from the Eastern Motion Pictures Association (EMPA). A couple of years on, while doing her M.A. in English from Poona University, Sangita participated in various singing competitions and functions, and at all those places, she earned plaudits from all quarters. During those days, she was fortunate to have come into close contact with the likes of Hariharan and santoor maestro Pandit Shiv Kumar Sharma. Also, from her University days in Pune itself, she had begun recording songs in different Mumbai studios for various production houses of Assam, chief of which was Music Makers, with which she shares a long and memorable association. It was in 1991 that she recorded her first album for Music Makers entitled ‘Niribili Godhuli’, with music by Jitul Sonowal. In that album, which earned record-breaking sales, Sangita sang two songs, one of which was a duet with Udit Narayan. In addition, this album also had renditions by Kavita Krishnamurthy, Kumar Sanu and Sadhna Sargam. The success of this album made Sangita a household name in Assam. It was followed by another hit album ‘Anjana’, where Sangita repeated her sterling performance. Once in Mumbai, she enrolled herself as a student of the reputed St Xaviers College, Mumbai for a diploma in Mass Communication [where the likes of Jahnu Baruah, Tom Alter, famous film director Bikash Desai and Aruna Raje taught]. After passing out from St. Xaviers, she took up a job as a Production Executive in an advertising agency ‘Expert Creations’. In the meanwhile, she took admission into the Kalaveer Academy, the famed music school of the doyens Kalyanji-Anandji. Remembering her days at the Academy, Sangita baideo reminisces: “it was a unique school in that the traditional ‘guru-shishya parampara’ was followed there. We were not simply students; rather we were a family learning the finer nuances of the art of singing, viz. improving pronunciation, learning to lay proper stress on the appropriate word, improving upon our standing notes and so on. In a way, it was a school where we gave finishing touch to our singing abilities under the blessed tutelage of our Gurujis Kalyanji and Anandji, in a homely atmosphere. For instance if they had guests, we girls had to make tea and serve the guests. This way the shackles of formality were broken”. It was at the advice of the famed musical duo, (who apparently saw great promise in this young girl) that Sangita went to learn Urdu under the famous Dr. Taheera Banarasi for two years. At the same time, she also took lessons in vocal classical under renowned singer Dr. Charushila Diwekar. At the same time, she was busy recording songs in different languages like Urdu, Marathi, Oriya and Sanskrit and Asomiya [her Asomiya renditions had become highly popular throughout the state. Of all those albums, baideo especially mentions the album ‘Surere Bhoril Protitu Prohor’, which was produced by Music Makers and had music by the indomitable Bappi Lahiri. Of the other languages, she has fond remembrances of the Oriya album ‘Somokila Badambari’ (music by popular Oriya artist Biju Vyas). This album, where she shared the microphone with Sonu Nigam, Anuradha Paudwal and Manhar Udhas, attained tremendous popularity throughout Orissa]. She had sung in a few jingles as well, besides recording a few songs for the famous production house of Venus. She has also had a few performances on television (Doordarshan and Zee) to her credit apart from functions in different parts of Mumbai, as a student of Kalyanji-Anandji and also through Bappi Lahiri, who had taken a great deal of interest in this budding talent. Speaking of Bappi Da, her face lights up as she reminisces, “I can never forget Bappi Da; he was always encouraging me. At his advice, I started going to Maya Govind for Hindi lessons. Also it was he who gave me a chance to sing in films like ‘Raffoochakkar’ and ‘Agni Prem’. In this regard, I would also like to take Kumar Sanu’s name. He too would always tell me that my entry into this field had been a very good one. He would often say, in his typical Bengali accent, “Sangita, you have a bright future. Your entry into the industry has been good. You just keep singing; I will help you out through my connections as well”. During her stay in Mumbai she had come into close contacts with the likes of Yesudas, Jagjit Singh, Y.S. Moolki besides Abhijit(with whom she has sung a few songs as well)Yet, in spite of all this, when the time arrived for her to take the momentous decision of her future course of action in life she left behind her all the razzmatazz of Mumbai and returned home. But wasn’t it a hard decision to make-leaving all the glitz and glamour of Mumbai, especially in view of the fact that she was inching closer to a really big break in the industry? Does not she ever have any regret as such, especially when she sees some of her contemporaries really making it big... for instance, Babul Supriyo? “Absolutely not” comes the immediate reply, “you see life in Mumbai is extremely tough and expensive. To sustain yourself there you need to have a definite income of your own. And to make it to the big league as soon as you enter the industry is near impossibility, especially in those days when we didn’t have contests in such a grand scale as the Indian Idol or the Sa-Re-Ga-Ma Voice of India Challenge. At that time even if you gave a big hit you needed to keep doing the rounds of the offices of the eminent music directors and filmmakers to remind them constantly that you were so-and-so and you had given so-and-so hit song. Only after such repeated/prolonged attempts you stood a chance of getting a big break. This takes away a big chunk of your time; and often many a talented singer’s voice was spoilt after years of prolonged attempts with success still eluding them. So despite the fact that my entry might have been good, yet I was still far from the highest levels of success which I aimed at, and I didn’t want to take a chance-- whereas I had already created a field for myself here in Asom (although I was Based in Mumbai at that time, my songs were quite popular throughout the state). Also, music is my anweshan—language is not the chief criterion, nor is commercial success a prerequisite for my dedication to music. Besides I have always had a firm attachment to my roots, to the traditions, customs et al of my state”. Taking a deep breath, she sums up, “and thus I was back in the midst of my own people, and returning, I embarked upon a full-fledged career in singing here. And touchwood, the audience, especially my fans have showered such love on me that I feel blessed... I cannot tell you how thankful I am to my fans, whose undying support has been my constant source of motivation all these years. In other words”, she ends with a happy sigh, “I have no regret as such for leaving Mumbai then”.
Just then, the tea things arrive, and there is a slight detour in the conversation/interaction. It gives me a chance to look around the artistically done sitting room. On the four walls there are several paintings, which immediately draws my attention and raises baideo in my estimation: for each of those paintings, as is apparent from the signatures at the bottom, is done by baideo herself.
Tea over,we pick up the discourse up from where it had been suspended temporarily, I venture to ask about her subsequent days in Asomiya music industry, and whether her marriage had been any impediment upon her career. To the later query, she replies at once, “No, No, never. In fact, it has been the unconditional/constant support of my in-laws, especially my husband that has enabled me to continue with my musical pursuits. Especially after Geet and Jhumpa came to our lives, my husband has shouldered equal responsibility of our children, despite the demands of his job”. her husband Rajib Prakash Baruah is an ACS officer, and currently a high-ranking official in the Asom Government.. Shecontinues, “after marriage a wife needs the support of her in-laws, especially her husband.many a talented girl’s career is curtailed owing simply to the lack of support. It is sad that even in the 21st century there are many instances of this...in my case after my marriage I continued my studies as well. I did my B.Ed. from Gauhati University and then M.Ed. from Himachal Pradesh University besides a P.G. Diploma in Advertising and Public Relations from M.S.P.I., New Delhi”.After completing her studies, for eight years she served as a lecturer in the K.R.D. College of Education, Chaygaon. Currently, she is a visiting lecturer of the Institute of Mass Communication and Media, Guwahati and Regional Institute of Journalism and Mass Communication (RIJAM), Guwahati, Asom. All this in addition to a successful career in music. Over the last fifteen years she has rendered her voice into more than eight hundred audio albums, in Asomiya, Bengali, Oriya, Sanskrit, Hindi, Urdu, Marathi, Bodo and Karbi languages, apart from Goalpariya Lokageet (although she hasn’t done any album till date, she is interested in working on the same in the future). Some of her abums include--‘Protikhya’, ‘Aparup’, ‘Jahnavi’, ‘Sangita’, ‘Sirojugamiya Geet’. She has also music direction in several Audio and Video albums (for example ‘Jahnavi’ and ‘Sangita’). A ‘B high’ Grade Artist of All India Radio Guwahati and Mumbai, she is a regular artist of Doordarshan Kendra Guwahati, Programme Production Centre, DDK, Guwahati, North-East Television and all other private TV Channels of Assam. As a playback singer she has rendered her voice for several Asomiya films that includes ‘Natun Dinar Babe’ by Nurul Haque, ‘Son Pokhili’ by Nurul Haque and Amar Bordoloi, ‘Eti Koli Duti Paat’ by Nayan Moni Baruah, ‘Prem Protisruti’ by Pokhila Kalita, ‘Seuji Dharani Dhuniya’ by Rajib Bhattacharjee, ‘Jyotiprasad’ by Charu Kamal Hazarika, Nip Baruah’s ‘Meghor Mukhor Rode’ among others. She has also sung in many documentary films, TV serials, Telefilms, VCD films etc. As for stage shows she has performed through the entire expanse of the state. Outside the state, she has performed in Mumbai, Pune, Kolkata, Shillong, Tripura, Manipur and Dhaka, among others. As regards awards, she informs this writer that apart from the EMPA Award way back in 1988, she has also won the ‘Best Presentation Award’ in the popular Asomiya Musical TV serial ‘Geetimalika’ (that was broadcast in Guwahati Doordarshan) in the year 2000. In 2002 she won the ‘Best Singer Award’ in the Assam Sports and Cultural Festival.
Discussion veers of towards the National Games, where she had sung the theme song ‘Rongmon Rongmon’ and which has turned out to be a chartbuster. In fact Sangita baideo says that this song has become so popular that post- National Games wherever she has gone to perform the audience has always demanded of her to sing the song. The moment she starts humming the song, the audience too starts to sing it. She admits that when she was singing this song she had not the slightest idea that this song would turn out to be so massively popular. As a matter of fact this song was originally a part of the album ‘Swagotom Rashtriyo Krira 2005’ which was brought out to create awareness and generate enthusiasm amongst the people of the state regarding the 33rd edition of the National Games that was supposed to be held in Guwahati in 2005. the songs having were composed by the likes of Dr. Bhupen Hazarika, Dr. Mamoni Raysam Goswami and Dr. Nirmal Prabha Bordoloi. She had also performed in the Cultural programmes in the Games Village precints from 7th to 10th February, 2007. In this context Sangita baideo tells an interesting story: “A couple of months before the National Games, one evening, I got a call from Power Minister and Chairman of Reception Committee of the National Games, Mr. Pradyut Bordoloi. He wanted to know if I could within these two months, prepare a group of my own and prepare at least one popular song in each of the twenty-five languages of the 33 participating states. So that those states could be welcomed with a popular number from their own home states. Of course research and the preparations were all my own responsibility. That was undoubtedly a big challenge, for the songs had to be not only popular, but ones which would endear to the participants (for they were all young men and women), but the meaning also needed to be one which would suit the occasion, besides the pronunciation too needed to be correct. And that was a daunting task especially with respect to the Southern Languages, which seem quite identical and tongue-twisting to people who aren’t familiar with the languages. Nonetheless, we managed to compile and learn ourselves (to the utmost perfection possible). I had formed a team of my own in which I included Ajanta Das and my regular accompanying musicians. For the purpose of collecting lists of songs of the different languages, we made extensive use of the internet, I also received unequivocql support from all quarters that I approached—that was the best part about it. When the time arrived to perform before the participants from different states, the response was so overwhelming, that I fail to express them through words: it was simply and truly touching. Those young boys and girls were having the fun of their lives. They would demand me to sing this hit number and that hit number: as though I were an expert on all vernacular languages (laughs). They didn’t even go up to have their meals. They would just sit and enjoy or else dance and jump about, as though it wasn’t a National Games they had come to attend rather some big party. It was truly, an experience of a lifetime. In fact many of the young girls enjoyed it so much that they had some traditional delicacies of their home states brought in (because during those days, there was continually somebody or other coming in from the different states into Asom) and gifted me. It was so touching.... Realising that I cannot take much more of her time, I hurry off to the last few queries I have in mind, and without which this interview would probably be incomplete. Of all of her songs, which happen to be closest to her heart?I enquire. "Well", she replies, "each of my songs are dear to me, but some of those which are closest to my heart include 'Jaay Bahir Sure', 'Nokhe Maati Lekhi', 'Mitha Mitha Moromor', 'Sou Kopou Pahi Sinu Kenekoi', 'Nasoni Botahe', and of course 'Rongmon Rongmon''
After about fifteen years in this field, what is her opinion about the current trend of singers who are seen to be cropping up in multitudes, as also on the present state of affairs in the musical scenario-which has developed into an era of remixes. and what is her advice to budding singers? To this, she simply replies that there can be no substitute to hard work, dedication, what she terms 'saadhona'--and of course a dash of good luck. However, in her opinion, the most important prerequisite for any person to be a singer is to be in possession of talent, which is God-gifted. For sans talent, the others are meaningless. However, the problem today is that people crave for overnight success. To be able to sing properly, a classical base is absolutely essential; for it is the classical base which ensures longevity to the singer, for only constant and rigorous practice enables the singer to maintain the quality of his voice. Neither children nor their parents are concerned with all this: it is often seen that after attending a few days of music classes, parents send their children to perform on stage, often to the accompaniment of Glamorous outfits. In fact glamour has now come to dominate the musical scenario. Through flashy dresses many singers try to draw attention towards themselves. This, she believes doesn't augur well for music. But then this is the state of affairs right now. She is personally not in favour of remixes, for she belives that the exalted heights Lata-ji and Asha-ji has carried cannot possibly be emulated by anyone else, try as they might. Thus, to sing their songs, when their original records are available, is meaningless. On top of that most wannabe singers in the hope of being noticed by singing remixes end up distorting the original songs. She consider, Dr. Bhupen Hazarika and Lata Mangeshkar as her favourite singers. She also loves listening to the renditions of the doyens of the world of music, viz. Bade Ghulam Ali Khan, Pandit Bhimsen Joshi, Runa Laila, Mehdi Hasan, besides the recitals of Ustad Zakir Hussain and Pandit Shiv Kumar Sharma. She also is a big fan of Pakistani artists.
Apart from her professional work she is also involved in several socio-cultural organisations like 'Aradhana'rendering service to people of interior regions as well as under priviledged children. As an artist, she goes regularly to interior regions to entertain the people, and she charges not a farthing for that. In this manner she has performed numerous such shows not only in interior areas but also in Central Jail, amongst invalid children and so on. She has also been intimately involved in Ashadeep and North East Network.
It is already quite late, and what with the ULFA raising day and bomb blasts around, I know that my folks back home would be a worried lot, for hers was my last assignment of the day. But then the interaction with this graceful lady (who is sweetness personified) has been so inspiring that the couple odd hours virtually flew by, as yours truly sit, enraptured by the lady's reminiscences,as she traversed her journey down memory lane, expressed in words which were but sweeter than honey.