No artist since Amir Khusrau has epitomized the syncretism of Indian music like AR Rahman. The contributions the maestro has made to margi and desi music are staggering. His poise, both in the technologized milieu of new age sounds as well as the elitist music of western academy, is a rarity that eludes other classical musicians.
Rahman’s astounding achievements–including two academy awards, golden globes and almost any other conceivable accolade in the musical arena–sit easily on him. His lack of airs has endeared him to fans, who are legion. Moreover, he has stormed the bastions of elitism, like nobody has ever done.
Rahman has been a political figure of sorts for many in Tamil Nadu and elsewhere, despite being withdrawn and shy. He has never been apologetic about his spirituality or his faith. ‘Religions divide, spirituality unites,’ seems to be his motto. That he has composed not a few patriotic ditties seems to have done him no end of good in those stakes.
Rahman’s belief in Islam has been the major identity marker, perhaps more than any other contemporary musician of global repute. This has, in some circles, earned him brickbats, for being ‘cynical’ and so on. The seamless nature of his music has meant that Rahman, for nearly three decades, formed the musical horizon of Indic conviviality.
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