Band of Maharajas composer Bickram Ghosh: 'We are on the same list as big productions like Dune and Wicked'

Bickram Ghosh

The upcoming Oscars may be special for tabla maestro Bickram Ghosh, whose work in filmmaker Girish Malik's musical, Band of Maharajas, is in the race for two titles - Best Original Song (Ishq walla daku), and Best Original Score categories. In this interview, he shares why he believes his music made it to the list of 89 contenders from across the globe.

Edited excerpts from the interview:

What has been on your mind since this announcement?
There are two aspects to this; one is that, of course, a development like this is a validation for an artiste, and makes you feel like your work is being internationally recognised. The fact that this is the only Hindi film on the list of contenders is also special. Also, it's worth noting that this acknowledgement is not the first one for the director, Girish Malik, and me. We were also recognised for Jal, in 2014. We are also glad that this [film] has been selected in two categories, Best Song and Best Original Score. We're looking forward to the next step now. We understand that we are [creating] the kind of sound that is being [acknowledged] internationally.

I've had a history with the Grammys and the Oscars. I've played on four nominated albums, and on one Grammy-awarded album. So, we are hoping that in the years to come, there is more penetration of our work. Right now, we're just holding on to the fact that this is a step in the right direction.

While many individuals may not emphasise the need for awards, you have, in our previous interviews, never underplayed their place in the life of an artiste. Does that aim define the way you score for a film?
The one thing I would underline is that working on an album is different from working in cinema. Music, for cinema, cannot exist without [meeting] the demands of the film. So, you are [restricted] to a certain world of storyline. Here, the story revolves around three young men who live on the border of India and Pakistan. Despite the political [turmoil] between the two countries, the crossover in [traditional practices indicates] that there is a sense of unity. They understand that music can be a hathiyar [weapon] - a medium to protest, as well as a social movement. We asked ourselves, what should be the sonic world that we create for a film like this one? Girish and I liked the fact that we could include sounds from across the globe. Since [the film is] set in Punjab, we used the Punjabi language, but, we ensured that the instrumentation was creatively handled. There were trumpets and clarinets, and then there was also Middle Eastern [influences] with rababs. There were banjos and mandolins too. And at the same time, we used alaaps. So the positioning is ‘India going global', as far as the sound is concerned. yet, it's malleable with the current electronic trends. There is a huge array of sound.

In this song [Ishq walla daku], you will traverse various worlds, but the song is unified by an Indian melody. So, I believe, it was [short-listed] because the identity [of India] has been interestingly retained, and the song still [aligns] with world music.

Many fans have aptly pointed to the difference between the attention given to RRR and other Oscar contenders. Does that bother you?
Right now, we are on the same list as some of the biggest productions, like Dune and Wicked. This goes to show that at such shows, there is space for everyone. Smaller gems can also be pushed into the spotlight, and it isn't necessary that only a big film will win. We have stuck to our belief system for years. To be recognised on the world stage, you have to have a sound that is unique, and individualistic.