Titi Robin, a music composer and improviser based in Paris, is known for his distinct music style. Fascinated by the folk traditions that make up music in different parts of the world, Robin has always tried to incorporate different genres, sounds, instruments and even languages into his music.
Deeply influenced by Indian classical music, he has mastered several instruments. He writes poetry in French and translates it into Hindi, incorporating French and Hindi lyrics into his performances.
What drew you to music?
I decided to be a professional musician when I realised that my intimate expression of life through art was understood by people around me. My sound is a reflection of my soul. When I compose or improvise, I feel like I’m writing poetry. Like a poet who fights to find the good word, the right metaphor, I try to find the right sound.
Your music has strong Indian influences. What do you have to say about it?
I didn’t choose. It is my destiny. At the same time, I am a French Mediterranean artiste and happy about my roots. Some of my close friends are Indians and so I was exposed to Indian culture. The styles of music and poetry from India influence me every day. I simply accepted that reality and tried to translate it into my art.
You’ve been to India many times. How did you first discover Indian music?
I discovered Indian music through my collaboration with the tabla player Hameed Khan, of Jaipur, in the beginning of the 1980s. I recorded my first album with him in 1984.
Then, I met famous kalbelia dancer Gulabo Sapera and we worked together all over the world with our projects for many years. So, it is mainly through Rajasthani music that I started to know Indian music. I also learned to appreciate Hindustani music, ghazal, and other styles. But Indian music is an ocean of styles, for example Carnatic music is a world by itself.
Your latest collaborations with Indian artistes.
For my last project, ‘Rebel Diwana’, I invited two musicians from Delhi — sarangi artiste Murad Ali Khan and singer Shuheb Hasan. These Hindustani musicians have adapted their style to my compositions.
Have you performed in India recently? If yes, how was the experience?
In February 2019, I performed in Jaipur with Gulabo Sapera, her son Dino Banjara and singer Saway Nath, and then at Alliance Française, Delhi for ‘Khushboo’ concert with the same artistes and also Kathak exponent Mahua Shankar, Murad Ali Khan and other musicians from Delhi.
What does the audience in France think about the inclusion of Indian music in your works?
I think they have got used to it. It is a part of my style, especially the western gypsy connection with Indian roots. I can say that it is a part of my identity. There is also a strong aesthetic movement around that gypsy diaspora today in Europe and western countries. Many dancers in France are now studying Kalbeliya dance. And since my recording of ‘Laal Asmaan’ in 2010 in Mumbai, as a homage to Indian influences in my music, it has become clear to people that the story of my musical experience draws a bridge between Europe and India.
In your career as a musician, what is the biggest problem you’ve had to overcome?
Balancing aesthetic approach, touching people’s heart, and the necessity of earning money.
How would you describe your musical style?
Since the beginning of my career, I played only my compositions in my own style. I recorded more than 20 CDs with that material. While resolutely contemporary, it has been inspired by the ancient Mediterranean civilisation, uniting a number of artistic styles that can be found along its banks, from the south of the Balkans up to northern African Maghreb, from the south of Europe up to the Machreq (Levant). For a long time, it has been the founding stone not only for numerous artistes but also for scientists, physicians, philosophers, craftsmen and poets. Moreover, for centuries, the Mediterranean culture has been nourished by the cultural and philosophical flow which originated in Northern India and crossed Central Asia. The Gypsies have followed the same path. For this reason, I can sometimes hear in the song of a Kalo (gypsy from south of France) the same poetic metaphor as the one that I hear from a Langa of Rajasthan or a Qawwal from Lahore.
All these styles echo each other, oppose or attract each other to constantly join each other. As a contemporary artiste I do not create ‘fusion’, but take in, elements which are part of this mosaic, both diversified and homogeneous.
Your music is an infusion of many different genres and cultures. What is the message that you wish to share through your music?
The main message could be to share with humility but also radicalism, the intimacy of human experience through art, all those deep feelings that you could not explain with everyday words, yet are so essential.