“Good music is that which touches your soul” says Swati Panda, the founder of the Raganjali school of music. The propagation of Hindustani music in Massachusetts is her mission. A dedicated teacher, Smt. Swati Panda strives to inculcate the love for music in her students through clear instruction and intensive training.

She is the disciple of Guru, Late Dr. Mohan Charan Senapati, under whose guidance she completed the Sangeet Visharad (B.A.) & Sangeet Alankar (M.A.) degrees via Sangeet Mandir, Bhubaneswar, an affiliate of ABGMV Mandal, Pune. Her style represents a blend of Kirana & Gwalior gharana gayaki She has received additional training in Hindustani music from Pdt. Vinayak Torvi, Shri Ajay Pohankar and Padmabhushan Dr. Prabha Atre during their stay in the Boston area. She specializes in Khayal, Thumri, Bhajan and varieties of semiclassical folk music forms like Kajri, Chaiti, Hori etc.

Besider her training in Music, Swati Panda holds a M.A. in English and Bachelor in Education degree from Utkal University, Bhubaneswar. After coming to the United States in 1989, she went on to receive a Master's Degree in Public Health, specializing in Health Administration from Benedictine University, Lisle, Illinois. Having worked successfully as a Senior Analyst in Department of Strategic Planning & Network Planning at UMASS Memorial Health Care for 7 years, Swati decided to contribute her time to her family and her lifelong passion, music.

She spoke to Lokvani about her life , music and more.

Lokvani: How did you get introduced to music?

Swathi Panda: Music has been an integral part of my family. My great-grandfather was a patron of the arts. It is said that we used to have Musical Durbars in my house. My own grandfather was fluent in tabla, harmonium, clarionet, singing and composing. My father decided that all his children would learn dance and music. I started learning music from a very young age. But when I was in sixth grade, I met my Guru Dr. Mohan Charan Senapati and under his able guidance I completed the Sangeet Visharad (B.A.) & Sangeet Alankar (M.A.) degrees . It is also my good fortune that I am married into a musical family. My father-in-law besides being a radio artist, has devoted the past fifteen years to teaching Hindustani classical vocal music at the Sri Aurobindo Ashram in Pondicherry.

Lokvani: Despite your love for music why did you pursue a career in Public Health?

Swathi Panda: While music was always my first love, my parents placed a lot of emphasis on academics. Music was always meant to be a parallel interest. My mother is a physician and hence my interest in the medical field.

Lokvani: What motivated you to quit your well paying job at the UMASS Medical Center to pursue a career in teaching music?

Swathi Panda: While family commitments triggered my decision, I gave up my well-paying career at UMASS because I realized that ultimately music will give me the greatest fulfillment in life. I also believe that this is a community service geared towards promoting Indian culture.

Even during the time I was working in the Public Health field, I was always in touch with music. I used to perform and I was also teaching. When word got out that I was able to successfully train students, people approached me for classes. Eventually, because of growing demands, I established the Raganjali School of Music. Raganjali means an offering of Ragas – my humble offering to my Guru, who patiently and lovingly groomed my musical career.

Lokvani: What is the mission of your school?

Swathi Panda: The mission is to serve Massachusetts and surrounding areas by providing educational and performance platforms related to North Indian Classical Music, popularly known as Hindustani Music. We strive to develop and enhance Hindustani music appreciation, achieve vocal excellence in students, create opportunities for accomplished musicians to demonstrate and educate students and the public regarding the fundamentals and complexities of Hindustani music.

As the Guru, I continuously strive to maintain and exceed the uncompromising quality of instruction provided and received. Recently, on September 12, 2004, Raganjali presented Sangeet Sabhaa, 2004. The mission of this grand musical event was to cherish the musical accomplishment of all students, and to provide a musical forum for them to present their art. This event showcased all Raganjali students in a friendly, encouraging environment and was a reflection of excellent teamwork by all involved, including the students’ families.

Lokvani: Could you explain the differences between the Hindustani and Carnatic styles of music?

Swathi Panda: As a teacher of voice culture I would say that the method to exercise the voice and the throw of the voice is different. In the Hindustani tradition, besides the complexities of rhythm, emphasis on melody is essential – i.e. the rendition of a note at a perfect pitch and its sustenance is emphasized. I believe the emphasis in Carnatic music is on complex rhythmic patterns.

But having said this I must say that it is difficult to precisely define the differences. In a world of globalization, the boundaries between musical traditions are getting very blurry. I have heard many Hindustani musicians using complex rhythmic patterns drawn from Carnatic traditions and the Hindustani singing style being adapted to Carnatic music.

Lokvani: Can you explain the concept of a Gharana and its place in Hindustani music?

Swathi Panda: In the old days, people used to live in their Guru’s house (Ghar) and learn music. They often heard music only from the guru and hence were bought into a style of singing as propagated by the guru. In today’s world of technological advancement, the Gharana is often synonymous with singing style. Since people now are exposed to a multitude of styles owing to music on the web, CDs, etc. there is less of an emphasis on a certain style. People take the best of many Gharanas and adapt it to their own singing style.

My own style represents a blend of Kirana & Gwalior Gharana gayaki, the result of my Guru’s extensive training under the well known Gwalior Gharana vocalist Pandit Keshav Bua Ingle and the legendary Kirana Gharana exponent Pandit Bhimsen Joshi. However, my gayaki also reflects certain other styles that have appealed to me.

Lokvani: What is the structure of a Hindustani concert and what defines a good vocal recital?

In a typical Hindustani concert, a Raag is revealed many stages. Beginning with slow exposition of notes, the artist presents compoisitions in different layas(speed). Some may have a Vilambit(slow) Khayal followed by a Dhrut(fast) Khayal . Others may choose a Madhya Laya Bandish (medium) and follow it with a Dhrut Khayal . Often a Tarana is used to complete the presentation. During this presentation, all compositions have a depth of elements comprising of all or some of the following: alaps, boltaans/laykaaris, different patterns of tans, boltaans, etc.

A good vocal recital is defined by perfect intonation, good essential melodic sound of a note and sustenance of the note. Brilliant expositions of the Raag patterns are also essential.

Lokvani: You spoke about the Hindustani and Carnatic traditions borrowing from each other. There are musicians who are drawing from the western traditions as well. Do you accept this practice? Do you experiment?

Swathi Panda: Music is a continuous and evolutionary process. Traditionalism is great, but as long as the grammar of a raag is intact, cross-walking brings in an added dimension to the presentation.

I am a traditionalist when it comes to Khayal. But I experiment in semi-classical compositions where I have incorporated sounds of Electric Guitar, Saxophone, Piano which are Western Instruments and I have been pleased with the results.

Lokvani: What is your advice to aspiring students of music and their parents?

Swathi Panda: It is simple. Follow the three simple rules – Practice, Practice and Practice. Respect for music shows only through uncompromising regular practice. I urge parents of young children to supervise their practice. I also encourage recording a class to aid their riyaaz at home and maximize their understanding of material covered in class.

I also urge people to listen to live concerts. Intensity and Bhav conveyed at a live concert provides an experience whose value is immeasurable.

Lokvani: You are teaching Indian music to children who are living in a land where it is not part of the landscape. Most will not make a career of music. Do you still have job satisfaction?

Swathi Panda: Absolutely. I think I am giving them something to treasure - love for music never goes. As a music teacher I am helping them to stay connected with their heritage. When they are in college and if suddenly hum a tune they learnt in class, or they attended a concert and it brought back the memory of a Raag they had learnt, I would feel fulfilled.

I have also worked diligently to bring music presentations to a wider audience. Often variety shows only have dance and I have pushed organizers to include music presentations. We have performed at Hatch Shell and other venues. The fact that I am reaching out gives me a great deal of job satisfaction.

Lokvani: Thanks so much for your time.

Swathi Panda: Thankyou.

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