Noriko Shakti: ‘Music reflects my journey and learnings'

Japan Times

12-04-2025

Tokyo native Noriko Shakti has been living in India since 2012. She is a boundary-pushing DJ and producer who bridges Japanese and Indian traditions through electronic music while advocating for women's representation in the industry and more ethical use of AI in music. She received her master's in Indian music and doctorate in instrumental music from Rabindra Bharati University in Kolkata.
1. How did you get into music? I started playing piano at a young age, and was also part of a choir. Growing up in Tokyo, I was fortunate to be exposed to a wide variety of musical and artistic expressions. Over time, my curiosity led me to explore global musical traditions, which is how I became deeply engaged with Indian music.
2. You specialize in the tabla, a traditional hand drum from the Indian subcontinent — what drew you to explore this instrument? Tabla felt like a language of its own: expressive, intricate and deeply philosophical. I was fascinated by its rhythmic complexity and improvisational nature. I pursued it both academically and artistically, becoming the first Japanese person to complete both a master's degree and a Ph.D. in this field in India.
3. Where does your inspiration come from? From movement and migration, both physical and cultural. My music reflects my journey and learnings, the interplay of tradition and innovation and the idea of sound as a bridge between identities.
4. What made you move to India? I wanted to see how deeply I could connect with a different culture and its traditions. I was also drawn to India's spiritual culture — its philosophy, yoga and meditation practices resonate with elements of Japanese thought.
5. What was surprising about your first experiences in India? In Kolkata, everything was intense: sounds, colors, emotions. But what surprised me most, especially coming from Japan, was how open people were. I was invited into people's homes, where I shared meals with them, sometimes even sharing a bed with their moms and sisters. I was treated like family.
6. What do you think Japanese media should cover more when it comes to India? The media often focuses on the version of India that fits Japanese stereotypes: chaos, poverty, IT and curry. It rarely dives into the depth and complexity of Indian society. I wish there was more coverage of India's creative scene, youth culture and innovation.
7. What should Japanese people know about India? Many Japanese people might worry about making mistakes or being disrespectful, but Indian people are generally open and love to talk, from small talk to big topics. In Japan, we're taught to avoid subjects like religion and politics, but in India, people welcome debate and want to hear your opinion as long as it comes with a basic understanding and respect.
8. Has there been a shift in how Japan and Japanese people are perceived in India? I've seen a growing sense of admiration and curiosity. Japanese culture is widely respected. I'm often surprised by how many young Indians try to speak to me in Japanese, saying they picked it up from watching anime.
9. How has living and working in India changed your perception of the Japanese music industry? In India, music is integrated into daily life, whether in festivals, rituals or social gatherings like wedding ceremonies. There's a sense of spontaneity and community that I feel is missing in Japan's industry, where things are a bit overly structured.
10. Where's a good place to start for someone just encountering your discography? "Back to Malgudi Days," my most recent release featuring British singer-songwriter Apache Indian, is a great introduction to my work. This project reflects my lifelong pursuit of blending cultures and genres, fusing hip-hop, reggae, classical Indian and U.K. garage and bass music. The accompanying AI-generated video by the team of Zindabad Studio visually captures the essence of bridging tradition with modernity.
11. How do you combine elements from India and Japan in your music? Oftentimes it happens naturally rather than as a deliberate fusion. I've also explored this cultural exchange through other art forms. Projects like 'Shakti,' my abstract dance performance at the Serendipity Arts Festival, were deeply fulfilling experiences where I collaborated, as a producer and performer, with talented Japanese and Indian contemporary dancers to express the convergence of our cultures and backgrounds.
12. Women are significantly underrepresented across different roles in the global music industry. How is the situation in India? India has many active female musicians, and opportunities for them to perform are gradually increasing. However, gender disparities remain in both the classical music and electronic scenes. I was always the only female student in my tabla class at university and in the gurukul (traditional residential school). Most of the tabla gurus I came to know had either one female student or none at all.
13. Who are the people or organizations trying to make the Indian music industry more inclusive? I recently had a great conversation with Sanoli Chowdhury, who co-founded an independent collective called Indie Grrrl that provides a platform for marginalized voices, particularly in experimental music. I was also interviewed and featured by FemWav, an initiative dedicated to encouraging and empowering female independent artists in India.
14. How are women faring in the Japanese music industry? Japan also struggles with gender representation in music. While we have strong female vocalists, there are fewer women producers, engineers and instrumentalists. The industry still tends to operate within traditional gender norms. I've experienced this firsthand, as has a female producer friend of mine.
15. What pressing challenges does the industry face in 2025? One major challenge is the lack of diversity in genres and representation. While Japan's mainstream music scene is vibrant, genres like electronic, experimental and alternative music often stay on the fringes, limiting the exposure to wider audiences.
Fusing Indian and Japanese musical traditions in her artistic practice, Noriko Shakti has been inspired by the 'sense of spontaneity and community' she found in Indian society's relationship to music. |
Asit Poddar
16. What do you hope to see happen in the Japanese music industry in the coming years? More cross-border collaborations that connect Japanese artists with the global music scene, fostering cultural exchange and innovation. I'm already working toward this vision through my label and creative space, Studio Hashi. My goal is to build bridges between diverse musical traditions, pushing the boundaries of Japan's music scene and amplifying diverse voices.
17. What has been the proudest moment in your career so far? Collaborating with artists I admired growing up, like Apache Indian. Seeing my music resonate with audiences across different cultures is also deeply rewarding.
18. Can you recommend some Indian or Japanese artists? During my travels through Goa, Mumbai, Tokyo and Delhi over the past couple of weeks, I've had the pleasure of jamming and collaborating with incredible artists such as Matt Black (Coldcut), DJ Pawas, Shrii, Ro, Armaan Khera, Mutempo, Itti and Cana Nongkhlaw.
19. If you could change one thing in the music industry, what would that be? As AI-generated music becomes more common, it's essential that we protect artists from having their work used without consent. We need safeguards that ensure creators retain control over their creations and receive the recognition and compensation they deserve.
20. What makes you feel this way? Because the heart of music lies in human experience. AI can learn from us, but it doesn't feel emotion, understand cultural nuances or carry the weight of lived experiences the way humans do. This concern led me to get involved in Human Data Rights, a movement advocating for ethical AI use, creator rights and frameworks that empower individuals and artists to retain control over their work in the digital age.