Getting to know Safra Deen - The melodious nightingale!

This 25 year old youthful soul is both a singer and a lawyer. She is also an ethnomusicologist. Initially educated at Bishop's College Colombo and Sri Lanka Law College, Safra recently completed her Masters in Ethnomusicology and Law at King’s College London and is currently residing in the UK. Safra's beautiful voice has dazzled many and here she is telling us how it all began!

1. When did it all start for you especially your blossoming musical career?

Well I started singing at home, with my family, who are quite musical but my musical talents were refined in school. I was very lucky to have attended Bishop’s College, where singing and the performing arts in general are of a very high standard, and it was the level of competition which I was exposed to as a teenager that became my inspiration to meet and exceed standards.

2. What were your parent's reactions to your pursuit of happiness through music?

My parents are incredibly supportive of what I do, provided it is in my best interest, and the same was for my singing. They supported that which benefitted my career as well as life, and cautioned me against that which didn’t.

3. Which aspect or event of music has been the highlight of your musical career?

Probably meeting the maestro A. R Rahman in 2009, when I was awarded a Fellowship at the Trinity College of Music in London. He is someone whose music and personality I have always admired, and getting the opportunity to meet him was such an honour.

4. For the benefit of all could you tell me what Ethnomusicology is and how you decided to pursue it?

Ethnomusicology is quite a broad field, but if I were to narrow it down for you, I would describe it as the study of music from a social, political, economic or cultural perspective. It looks into the value of music, not limiting it to its notational or aural dimensions. Although it is a less known (but growing) area of academia, it is certainly not something which has been overlooked in Sri Lanka. There are many local and international commentators on the music of our island, and Sri Lanka is rich with material for ethnomusicological survey which I believe is likely to receive more attention in the future.

Having completed my law degree and bar qualifications, I was determined that my Master’s study, would somehow link with my passion for music and since I had already completed my performance studies through Trinity, I decided to mix music with law through Ethnomusicology, which I found to be directly related to my interests and career goals.

5. What is the deal with law? How do you plan on fusing this with music?

At King's, I researched the role of music in conflict transformation and peacebuilding looking into the work of an organisation based here in the UK, named Musicians Without Borders (MWB), which uses music in a similar capacity. MWB operates in countries like Palestine, Rwanda and Bosnia and Herzegovina and their work showcases the potential and capacity of music, which could even be applied in countries like ours. Obviously their endeavours are not without limitations, but what their activities do endorse is the scope for the arts in the wider social realm, which again is not something which has been overlooked in Sri Lanka, but could be explored further in the future.

It was quite interesting to learn how music could link to things like the freedom of expression, social inclusion, diversity and even human rights to name a few, impacting transitional justice and development in non-conventional ways, and this was one of the many ways in which my studies connected with law.

6. What did your first music award feel like?

It was for winning my first school singing competition, when I was 12. It was probably one of the happiest days of my life since that was my first ‘Gold’ cup which was also my first contribution to my parent’s trophy cupboard.

7. You've directed musical productions in the past. What was it like to work with so many musicians?

A lot of fun, as many performers would say, because at the end of the day the overall experience gives you the opportunity to make great friends, if not extend your family. It seems almost clichéd to say this, but I truly believe that happiness is only real when shared – and for me, the best moments in my musical career have not been moments enjoyed as a soloist, but those shared with choirs or groups – such as the Bishop’s College Choir, Voices in Harmony, MusicInMotion and the King’s College Choir.

8. What's the next big step for Safra?

I’m still in the process of narrowing that down for myself but it mainly entails getting closer to putting my research and ideas into practice.  

9. Any future plans involving the Sri Lankan music industry?

Most of my plans center on making contributions to the Sri Lankan music industry, be it academically or musically, so yes, many.

10. What matters most to you as a vocalist and musical director?

As much as I view artists as people who produce art independent of popular opinion and whose role is not limited to that of entertainers, to me how I make my audience feel with what I have produced is what is most important. If members of the audience come up to me and say they have been inspired or emotionally charged in any way – then I know my job is done. That is how I judge my success as a performer – technicalities are less important.  This is harder to do in Sri Lanka, where you tend to know most of your audience – but this is a standard I have really enjoyed setting for myself when performing here in London.

Similarly as a musical director, I take these very things into account – including the ideas of the cast and crew - who need to be first convinced of the performance before they present it to others.

By Eshani Seneviratne