There's something magical about folk music — it stirs our souls, connects us to our heritage, and brings us closer to the soil we come from. And when we think of someone who has championed this art form with passion and grace, it’s none other than veteran singer and actress Ila Arun. With her distinctive voice, Ila has brought a unique folk touch to popular tracks like Gup Chup Gup Chup, Chudiyan Khanak Gayeen, and Resham Ka Roomal, making them lively staples in Indian music. These melodies don’t just fade with time; they live on, woven into our memories, and our hearts.With her vibrant traditional outfits and signature attractive bindis, she became the face of folk music, carrying its torch for decades. Whether on stage or on screen, her presence is nothing short of electric, and she has explored every medium — from cinema to theatre, television to independent music — with effortless brilliance.
Ila recently took on the role of Rani Yashodhara Baisaheb in a teleplay, Peechha Karti Parchhaiyaan. Adapted by Ila herself from Norwegian playwright Henrik Ibsen’s classic play Ghosts, it is directed for the stage by stalwart director KK Raina and helmed by filming director Saurabh Shrivastava for television.
In a candid conversation, Ila opens up about teleplay, her passion for folk music, its importance in preserving Indian culture, her journey in the field of art, and how theatre has become a powerful tool for addressing societal issues.
Excerpts
Please let us in on Peechha Karti Parchhaiyaan… What is it about?
I am absolutely thrilled about Peechha Karti Parchhaiyaan! The story delves into the societal ghosts of problematic rituals and regressive ideas that suppress and victimise women — issues Henrik Ibsen courageously questioned in 1880. Sadly, these questions remain relevant today.
Women have been oppressed for far too long, and atrocities continue regardless of religion, caste, or class. When I read Ibsen’s play, I felt compelled to adapt it. For Peechha Karti Parchhaiyaan, I envisioned setting it in Rajasthan, where I could draw insights from my deep understanding of the traditions and culture to explore what a woman might question in that context.
This familiarity allowed me to give a voice to the suppressed women I’ve observed since childhood. I named the adaptation Peechha Karti Parchhaiyaan, and I thoroughly enjoyed both writing it and playing the main character, Yashodhara. This is not merely a period play; it resonates with contemporary issues. In the play, Yashodhara asks, “Are all the rules only for women, not men? Why are only women expected to abide by customs and rituals?”
The narrative transcends communities and classes, addressing the struggles women endure and the questions they must confront.
How do you view theatre as a powerful tool for addressing social issues like caste, terrorism, and corruption, especially through your work with Surnai Theatre and Folk Art Foundation?
Theatre has always transcended beyond entertainment; since ancient times, it has been a platform to reflect upon, question, and challenge societal norms. Folk artforms like Tamasha in Maharashtra were designed to entertain as well as to raise awareness and spark dialogue. As artistes, we have the responsibility and privilege to use this medium to address pressing social issues. Theatre remains a powerful and progressive tool for initiating change, offering a space where voices can be heard, and thoughts can be provoked.
Given your immense contributions to folk music and your roots in the vibrant state of Rajasthan, how has your upbringing shaped your artistic choices?
My mother always emphasised the importance of the arts. In our family, each of us explored different artistic forms — some played the sitar, while others studied vocal classical music. This tradition echoes in many Bengali, Marathi, and South Indian families, where children are taught various art forms.
During my upbringing, which wasn’t particularly progressive, my mother was conscious of nurturing our artistic inclinations without pressuring us to pursue it as a profession. She wanted us to develop well-rounded, sensitive personalities, deeply connected to literature and music, but without the expectation of performing on stage. This balance was certainly a challenge, but I credit my mother for her encouragement. Today, I wouldn’t be where I am without her unwavering support.
What do you find particularly unique about folk music?
The diversity of folk music is truly fascinating, with each state showcasing its own unique sounds and instruments that deserve to be cherished and preserved. My passion for folk music stems from my deep respect for it, particularly what I’ve learned from Rajasthan. Over the years, I’ve released 10 albums dedicated to folk music, striving to popularise it both in India and abroad.
What I’ve realised is that language is no barrier; it’s the rhythm, style, and authenticity that resonate with people. However, I also see that preferences are evolving, with new artistes emerging on the scene. While I welcome this change, I strongly believe we should not become overly reliant on technology, such as robots and AI, as it could jeopardise the essence of natural art. It’s crucial to preserve the soul of folk music as we navigate these shifts in the musical landscape
As someone who has made significant contributions both as an actress and a singer, how do these two forms of expression complement each other in your creative process?
As a folk singer, my passion for music drives me, but the beauty lies in the unique style I’ve developed. My ability to convey emotion comes from my understanding of each word and its meaning, which I attribute to my background in theatre. This synergy between music and acting enhances my expression, allowing me to truly justify the lyrics with feeling and soul. While one can be technically skilled, it’s the emotional depth that brings the music to life
In films, your roles have ranged from a sex worker in Shyam Benegal’s Mandi to a political advisor (Mahamanga) in Jodhaa Akbar and a transgender character in Haddi. What guides your choice of roles, and in your view, what brings out the best in an actor?
I don’t actively seek roles, but when a powerful one comes my way, I take it up. In Haddi, I was the only woman playing a transgender character, while all others were portrayed by men. It was a profound experience stepping into that role, allowing me to empathise deeply with thestruggles faced by transgenders, given how society often views them. Similarly, playing Mahamanga was a unique experience. Directors have always come to me with compelling stories and characters, which make me grateful for the opportunities.
You’ve been instrumental in bringing the richness of Indian folk music to mainstream Bollywood. Did you face some challenges in this journey?
Folk music has now found a prominent place, with people from Bollywood and around the world returning to their roots. When I began singing folk, it wasn’t easy. Many didn’t understand my efforts, but I’ve always been proud of the fact that my songs helped the youth reconnect with original folk compositions, sparking curiosity in a genre once dismissed as old or rural. Before, Western and Bollywood music dominated the scene, but I redefined folk in a way that drew people back to its essence. Today, I can confidently say that my contribution to folk music is undeniable.
Given that your distinct husky voice sets you apart in Bollywood, do you think it’s challenging to carve out a space in the Hindi film industry when one’s style doesn’t align with conventional expectations?
Honestly, I never imagined I would sing for Bollywood. But each time, people sought something different, and I was lucky that my unique, raw voice stood out. It wasn’t the typical playback voice, but that distinction worked in my favour. I’m grateful that the timing was right, and I was able to sing the way I did.
We’ve often seen you in elaborate traditional outfits and with your signature long bindi. How do you stay connected to your roots in an industry that often favours modern trends?
You should always wear what suits you best. I can’t simply change with the shifting trends. Whatever I wore wasn’t about fashion — it was about living my tradition. When I came to Mumbai, they saw me with my bindi and chudi, elements you find in other states of India. In Bengal, you’ll see bindis; in Kerala, saris; in Gujarat, ghagra and cholis. I have a deep love for handlooms and our traditional jewellery. I hardly wear gold or diamonds. I’m much more comfortable in silver jewellery. I wore chudas, and after my videos, I noticed many people started embracing that look. It was truly amazing to see our culture revived in such a way.
Peechha Karti Parchhaiyaan is currently being aired on Airtel Spotlight, Dish TV Rangmanch Active and D2H Rangmanch Active.
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