A.R. Rahman: Bridging Cultures Through Music and Melody

In today’s increasingly globalized media landscape, much of the music we encounterremains deeply rooted in the traditions of our respective regions. One artist who has successfully blended the musical traditions of the East and the West is A.R. Rahman, the iconic Indian composer also known as ARR or Allah Rakha Rahman.

Rahman is celebrated for his groundbreaking cinematic soundtracks. He made a powerful debut in Kollywood with the Tamil film Roja in 1996, which set the tone for a stellar career that would eventually conquer Bollywood and Hollywood. His work on Slumdog Millionaire earned him two Oscars, and he received further acclaim with nominations for his compositions in 127 Hours.

Beyond his success in films, Rahman has ventured into diverse musical territories. Over the course of his career, he has contributed to over 145 films, created original compositions, worked on musicals, and collaborated with artists like Mick Jagger as part of the supergroup SuperHeavy.

When discussing his creative process, Rahman emphasizes the primacy of melody. “Melody is king,” Rahman shared in an interview with Euronews Culture. “You can do crazy orchestration and everything, but if you don’t have anything to remember, I think it’s useless.”

However, crafting melodies for global audiences comes with its challenges. Rahman notes that musical preferences differ across cultures. For instance, Western music often adheres to the structured theoretical lines of linear scales, while Indian music is built on the complexities of seven mutable swaras within the framework of raga. “India accepts everything, but it’s not the other way around,” Rahman observes. He elaborates by demonstrating melodies that Western audiences might find intricate, referring to the nuanced use of microtones.

“Tuning for Western songs is easier than for an Indian one,” he explains. “We have such complex ragas. These are certain bandishes that every Hindustani student learns.”

Bringing cultures together has been a constant theme in Rahman’s illustrious career. This mission gained further recognition with his appointment as the Honorary President of Trinity Laban, a renowned London-based conservatoire for contemporary dance, music, and musical theatre. This role brings Rahman’s journey full circle, as he once studied Western classical music at Trinity College of Music in London on a scholarship at the age of 13.

Trinity Laban has an impressive legacy, with alumni ranging from Afrobeat pioneer Fela Kuti to contemporary jazz stars like Ezra Collective and Tom Misch. Reflecting on Rahman’s appointment, artistic director Aleksander Szram described him as “the living embodiment” of the institution’s vision to push artistic boundaries. “We strive to lead the arts beyond convention, to make change and to break expectations,” Szram stated.

Rahman’s innovative spirit was evident from the very beginning of his career. “Even on Roja, my first film score, it broke with all the traditions. I was already so bored of what was traditionally expected of a movie,” he said. For Rahman, reinvention is essential. “The world needs reinvention,” he insists.

This philosophy of reinvention extends to education, an area where Rahman has made significant contributions. He founded the KM Music Conservatory in his hometown of Chennai to provide aspiring musicians with professional training and career opportunities. To make music accessible to marginalized communities, Rahman also launched the Sunshine Orchestra, which offers free training to children from disadvantaged backgrounds.

“When I started KM, I felt like if the rich kids wanted to master violin for 12 years, they could because they can always find a job, money, and everything,” Rahman reflects. However, for children from less privileged communities, societal barriers often make such dreams unattainable.

Rahman believes that music can transcend these barriers. “Once you’re in that orchestra, no one cares who you are,” he explains. “When you hear a sound, you don’t judge who’s playing it, right?” This inclusive vision fuels Rahman’s drive. Despite his monumental achievements, he remains motivated by a sense of purpose. “You might feel like I’ve done it all,” he says, referencing his numerous accolades, including Oscars, Grammys, and National Awards. “But I want the fire to burn, and the only way to burn that fire is by having a purpose in life.”

Rahman’s passion for music is deeply rooted in his spiritual beliefs. He views music as a powerful medium for uncovering truth and achieving inner purity. “Certain religions say music is forbidden,” he notes, reflecting on how people’s understanding of life’s purpose can be clouded by societal norms. “My ultimate quest is to see how many veils you can remove to find the truth within you.”

For Rahman, inspiration can come from any source—a street musician playing the flute, a grand symphony, or even the azan from a mosque. He believes that music can serve as a pathway to self-discovery. “The search to purity within yourself, to see the truth, could be through music leading you to something,” he explains.

Whenever Rahman encounters creative blocks, he turns to the works of Sufi philosopher Baba Bulleh Shah. By stripping away the lyrics from Bulleh Shah’s poetry, Rahman seeks to uncover the underlying melody. “There’s something about those lyrics, the power those lyrics have, that elevates the whole value of that tune,” he says.

At 57, Rahman shows no signs of slowing down. In addition to his role at Trinity Laban, he has an array of ambitious projects in the pipeline. These include plans to establish a new theatre in Chennai, develop the virtual metal band Secret Mountain, adapt Slumdog Millionaire for the stage, and direct his own films.

For Rahman, the journey is far from over. “The best is yet to come,” he says, embodying the boundless creativity and passion that have defined his career.