In an engrossing conversation with mid-day, the celebrated composer AR Rahman unwrapped the layers behind his upcoming documentary, “Headhunting to Beatboxing,” discussed his aversion to political banter, and shared his insights into the pressing challenges the Indian music industry faces today.
Touted as an offering that “exemplifies the energy, ambition, and new-found confidence of Naga youth,” AR Rahman’s feature documentary “Headhunting to Beatboxing” was showcased at the prestigious 77th Cannes Film Festival in France. A statement from the Nagaland government noted, “From the ancient traditions of headhunting tribes to the musical renaissance in the state, the documentary promises to take audiences on an immersive and enlightening musical anthropological odyssey.” In this exclusive interview, Rahman—who has also produced the film—details what drew him to the vibrantly rich cultural landscape of Nagaland and why he believes the story of its youth needed to be told.
When asked what attracted him to the narrative of “Headhunting to Beatboxing,” Rahman described his journey as one of discovery. “I was invited to Nagaland amid some skepticism because of various rumors about its head-hunting history,” Rahman recounted. However, his visit took an unexpectedly positive turn. “I discovered the essence of this film organically and reached out to Rohit Gupta, the director. I urged him to witness the Hornbill Festival in Nagaland, a spectacle where young people participate eagerly,” he said. Enamored by the state’s vibrant culture and musical initiatives—highlighted by the fact that Nagaland even has a minister for music—Rahman felt compelled to shed light on this lesser-known aspect of India. “I felt a strong need to bring this story to life.”
He emphasized the neglected scenario in parts of India, pointing out how inclusivity needs to be fostered in society. “Watching the documentary, two themes become evident—first, it represents India, and second, it reflects the inclusivity that our society should strive for. A significant portion of the country remains ignored, and that’s like having a family where three members aren’t fed properly. It’s unsettling.”
At the Cannes Film Festival, where he unveiled the teaser of his documentary, Rahman spoke about the weight of representing India on such an international stage. “I remain true to myself and what I stand for,” Rahman asserted. “I don’t release any anti-government material because, as a musician, I believe in maintaining a neutral stance.
. Negative elements don’t find a place in my music; instead, my focus is on peace and healing.”
Pressed on the pressures of catering to a global audience, Rahman reflected on his journey since his breakout success with “Roja” in 1992, which won a National Award. “People asked if it was too soon for me to receive such an accolade for my debut film. The bar was set high from the beginning, which made me question if I had given my best too early,” Rahman reminisced. He discussed the intentional slowdown in his work process afterwards. “While others produced songs within hours, I took weeks or even months, aiming to foster a culture of quality over quantity.” This shift was noted within the industry, leading to a more responsible approach towards music production.
For Rahman, the decision to charge more and create less was driven by his need to balance work with personal growth. “When you’re constantly working, you become a slave to the process, offering nothing new because you’re just repeating what’s been done. To innovate, one must engage with the world, meet new people, and spend quality time with family.”
Discussing the contemporary music scene in India, Rahman expressed delight in the rising popularity of non-film music. “It’s fantastic to see non-film tracks gaining traction. Otherwise, we’d be investing substantial money into music that doesn’t resonate with the masses,” he noted. He criticized the trend of paid views for songs that lack genuine engagement. “People now appreciate diverse musical styles. Lyricists like Irshad Kamil and Amitabh Bhattacharya have revived the nuanced lyricism reminiscent of the ’50s and ’60s. There is room for further evolution in lyrics to delve into life’s philosophies rather than sticking to simplistic love declarations.”
Rahman’s vision for the future involves a deeper, symbolic approach to lyrics, fostering a revolutionary transformation in how stories and emotions are conveyed through music.
