No formal training is my greatest gift: Shantanu Moitra – The Times of India

Analysis of Shantanu Moitra’s Artistic Philosophy and its Alignment with Sustainable Development Goals

Introduction: A Framework for Sustainable Creativity

A session with composer Shantanu Moitra, moderated by filmmaker Arindam Sil, provided a comprehensive overview of an artistic philosophy that aligns with several key United Nations Sustainable Development Goals (SDGs). This report analyzes Moitra’s career trajectory and creative process, highlighting its connections to goals concerning decent work (SDG 8), quality education (SDG 4), good health and well-being (SDG 3), and the preservation of cultural and natural heritage (SDG 11 & SDG 15).

Career Development and Contribution to Decent Work (SDG 8)

Shantanu Moitra’s transition from the advertising sector to a celebrated music composer exemplifies the principles of decent work and economic growth within the creative industries.

• Initial Career: Moitra began in the client servicing vertical of advertising, a field he noted for its separation between servicing and creativity.
• Pivotal Moment: A request from Pradeep Sarkar to compose a jingle (“Bole mere lips, I love Uncle Chips”) under pressure served as the catalyst for his career change.
• Economic Realization: The national success of the jingle demonstrated the viability of music composition as a profession, leading Moitra to the realization that he could “actually make music for a living.” This transition supports SDG 8 by showcasing the potential for sustainable livelihoods in the arts.

Alternative Learning and Quality Education (SDG 4)

Moitra’s approach to music composition champions non-traditional learning and lifelong curiosity, reflecting the inclusive spirit of SDG 4.

1. Rejection of Formalism: Moitra identifies his lack of formal musical education as his “greatest gift,” as it allowed him to discover a unique sound without the constraints of established rules.
2. Emphasis on Listening: His primary compositional tool is not an instrument but the act of listening—to conversations, to silence, and to the unspoken emotions of a narrative. He states, “Being in the industry taught me to listen to what’s not being said. That is the foundation of everything I do.”
3. Interdisciplinary Approach: He treats music as literature, finding rhythm and pulse in the words of a film script, an approach that promotes a holistic and integrated form of education.

Music as a Tool for Empathy and Well-being (SDG 3)

The core of Moitra’s philosophy is the role of music in fostering empathy and emotional connection, directly contributing to mental and emotional well-being as outlined in SDG 3.

• Emotional Impact: He defines his role beyond mere entertainment, stating, “My job is not just to make music, it is to make you feel something before you even know why.”
• Music as Empathy: Moitra asserts that music is fundamentally “about empathy.” This positions his work as a medium for enhancing social connection and emotional health.
• The Wonder of Creation: By approaching each composition as a new beginning (“I start from scratch each time”), he maintains a sense of wonder that translates into music capable of affecting the listener’s well-being.

Inspiration from Natural and Cultural Heritage (SDG 11 & SDG 15)

Moitra’s work underscores the critical link between creativity and the environment, advocating for the preservation of both natural landscapes (SDG 15) and local cultural ecosystems (SDG 11).

• Influence of Nature (SDG 15): His travels, particularly to the Himalayas, are a primary source of inspiration. He notes, “When I travel, I hear – the sound of fire, the rustle of a tent, the wind in the valley. That’s my music.” This highlights the intrinsic value of natural ecosystems for artistic and spiritual sustenance.
• Valuing Local Culture (SDG 11): Moitra emphasizes the rich creative resources within Bengal, lamenting the tendency to look elsewhere for inspiration. His statement, “Bengal is replete with its own resources and already has more than enough,” serves as a call to action to sustain and promote local cultural communities.
• Storytelling and Rhythm: His belief that “every story carries its own rhythm” reinforces the idea that music must honor and sustain the cultural and emotional tempo of its source material, thereby safeguarding narrative heritage.

Analysis of Sustainable Development Goals in the Article

1. Which SDGs are addressed or connected to the issues highlighted in the article?

• SDG 8: Decent Work and Economic Growth

  The article extensively covers Shantanu Moitra’s career transition from a client servicing job in advertising to a successful music composer. This narrative directly relates to themes of entrepreneurship, job creation, and the economic viability of the creative and cultural industries. His statement, “I realised I could actually make music for a living,” encapsulates the essence of finding decent work and economic sustenance through creative talent.

• SDG 4: Quality Education

  The article touches upon alternative forms of learning and skill development. Moitra emphasizes that his lack of formal training was an advantage, stating, “I have never had formal musical education, and that’s my greatest gift. Because I didn’t know the rules, I could find my own sound.” This highlights the importance of informal and non-formal learning pathways for acquiring skills relevant to employment and entrepreneurship.

• SDG 11: Sustainable Cities and Communities

  The article connects to the goal of safeguarding cultural heritage. Moitra’s comment, “All over the country, people take inspiration from Bengal’s creativity, but it’s unfortunate that we keep looking elsewhere. Bengal is replete with its own resources and already has more than enough,” is a direct call to recognize, value, and promote local culture and creative resources, which is a key aspect of making communities sustainable and culturally rich.

• SDG 3: Good Health and Well-being

  The discussion on the purpose of music relates to mental and emotional well-being. Moitra states, “Music is not about entertainment alone – it’s about empathy. If you can make someone feel something real, you’ve done your job.” This perspective positions music as a tool for fostering emotional connection and empathy, which are crucial components of mental health.

2. What specific targets under those SDGs can be identified based on the article’s content?

• Target 8.3 (under SDG 8)

  “Promote development-oriented policies that support productive activities, decent job creation, entrepreneurship, creativity and innovation…” The entire story of Moitra’s journey, from creating a jingle for “Uncle Chips” to becoming a renowned composer, is a case study in entrepreneurship and innovation within the creative sector, demonstrating how creative skills can lead to decent job creation.

• Target 4.4 (under SDG 4)

  “By 2030, substantially increase the number of youth and adults who have relevant skills, including technical and vocational skills, for employment, decent jobs and entrepreneurship.” Moitra’s success story implies that relevant skills for employment can be acquired outside of formal education systems. His ability to “compose through listening” and treat “music like literature” are self-developed skills that proved highly valuable for his career.

• Target 11.4 (under SDG 11)

  “Strengthen efforts to protect and safeguard the world’s cultural and natural heritage.” Moitra’s statement about Bengal’s rich creative resources directly supports this target by advocating for the appreciation and utilization of local cultural assets, thereby contributing to their safeguarding and promotion.

• Target 3.4 (under SDG 3)

  “By 2030, reduce by one third premature mortality from non-communicable diseases through prevention and treatment and promote mental health and well-being.” The article aligns with the “promote mental health and well-being” component of this target. Moitra’s philosophy that his job is to “make you feel something real” highlights music’s role as a medium for emotional expression and connection, contributing positively to the well-being of listeners.

3. Are there any indicators mentioned or implied in the article that can be used to measure progress towards the identified targets?

• Implied Indicator for Target 8.3

  The article provides a qualitative indicator through the narrative of a successful career in the creative industry. Moitra’s journey from a corporate job to a self-sustaining artist, initiated by the success of a jingle, serves as an example of economic opportunities within the cultural sector. The success of the “Uncle Chips” jingle becoming a “national earworm” is a concrete example of creative output leading to professional opportunity.

• Implied Indicator for Target 4.4

  The primary indicator is the tangible success achieved through non-formal skills. Moitra’s statement, “Because I didn’t know the rules, I could find my own sound,” acts as an indicator that alternative learning methods can lead to innovation and successful employment, measuring the effectiveness of skills regardless of how they were acquired.

• Implied Indicator for Target 11.4

  An indicator is the level of advocacy for local culture by influential figures. Moitra’s public statement on Bengal’s creative self-sufficiency is an indicator of growing awareness and promotion of local cultural heritage from within the community itself.

• Implied Indicator for Target 3.4

  The article suggests the perceived role of cultural products in society as an indicator. The description of music as a tool for “empathy” rather than just “entertainment” indicates its contribution to societal well-being. The focus on making listeners “feel something real” can be seen as a qualitative measure of music’s impact on mental and emotional health.

4. Table of SDGs, Targets, and Indicators

Source: timesofindia.indiatimes.com