Reacting to Krishna

by S. Viswanathan

A decade ago, in his address at the CII National Conference at Delhi, Prime Minister Manmohan Singh propounded the concept of inclusiveness. He urged business leaders to work towards an inclusive society providing wider opportunities for those sections that have been kept out of social and economic development. In subsequent years this has become a mantra.

This concept has spread from the corridors of power to the social spheres. Several prominent personalities have been involved in this mission.

In the South, Carnatic vocalist T.M. Krishna has been passionate about broadening the reach of classical music by blending with it vast varieties of folk music, practised by those sections of society not having access to music sabhas.

For a few years now, Krishna has been endeavouring to take classical music to a wider audience in the lower rungs of the social order. His annual concerts at the Olcott Kuppam, Elliot’s Beach, in Chennai, his efforts in teaching music to children in the city’s Corporation and government schools, his recent presentation in Karnataka along with transgenders highlighting their music, and efforts in Kerala, Andhra Pradesh and elsewhere have evoked a lot of interest. Sections that have not been exposed to such interactions have been enthusiastically participating in these efforts.

An articulate communicator, Krishna has been effectively using the media and through his prolific writings, he has been propagating this concept – inclusiveness. Recently, he was selected for the Ramon Magsaysay Award, which he described as a “celebration of music and art as part of the human dialogue.” Congratulations, TMK!
Recently, the Chennai International Centre presented Krishna in conversation with the former Governor of West Bengal, Gopalakrishna Gandhi. The theme was ‘inclusive music’.

Krishna expressed strong views critical of the hold – Carnatic music by brahmins and sabhas. His critique extended to the US, where, according to Krishna, Carnatic music was controlled by the upper strata of NRIs from the South and he made particular mention of his discomfort in performing in the Bay Area (San Francisco).

While I appreciate Krishna’s passion for inclusivity, I have concerns about his unfair criticism of musicologists, musicians and sabhas who have nurtured and maintained the quality of music through tough times after it lost the patronage of kings and zamindars. I cite a few instances to highlight the nature of this unfairness.

Not all music maestros have confined their performances to high-end sabha-s. For instance, several artistes over a few generations, such as Madurai Mani Iyer, T.R. Mahalingam, Kunnakkudi Vaidyanathan and Veena S. Balachandar graciously provided numerous kutcheries free at temples, schools and other public places that attracted thousands from all strata of society. I have heard dozens of such thengai mudi kutcheri (literally translated to mean the fee the artists got was one half of a broken coconut). In my generation, many including me were lured into Carnatic music thanks to the ‘inclusive’ spirit and dedication of these maestros.

A decade ago Krishna, along with Bombay Jayashri and Mythili Chandrasekar, produced a coffee table book, Voices within Carnatic music, providing graphic description of the lives and contributions of seven maestros – Ariyakudi Ramanuja Iyengar, Semmangudi Srinivasa Iyer, G.N. Balasubramaniam, M.S. Subbulakshmi, T.N. Rajarathnam Pillai, T.R. Mahalingam and Palakkad Mani Iyer. The present kutcheri format introduced by Ariyakudi was described in detail. For close to hundred years, this pattern has been followed.

However, recent years, Krishna has been critical – this format and has been breaking loose from this pattern that he has described as rigid. In a recent brilliant concert at Vani Mahal, he ended the concert with a soulful rendering of Thyagaraja’s Pancharathna Kriti Jagadanandakaraka traditionally sung at the beginning. No issue. The audience enjoyed this rendition. Krishna has the freedom to experiment, to differ, to evolve his own pattern. But should he be critical of the traditionalists and purists?

Krishna should also remember the vastly expanded opportunities available for Carnatic musicians today. A leading artist can get paid a lakh of rupees for a concert. Teachers can rake in the moolah teaching global students over the Internet. The Music Academy or Krishna Gana Sabha can get overwhelming support from corporates. But such opportunities were not available until a couple of decades ago. I remember the struggle of T.T. Vasu in his earlier years as President – Music Academy where he found it difficult to afford a decent coat of paint for the Academy building.

Krishna has been critical of the dominance of the brahmins. For over three decades, Nalli Kuppusami Chetty and Obul Reddy have been so actively involved in supporting sabha-s. Cultural organisations, Tamil Isai Sangam, run by the Annamalai Chettiar clan and the Indian Fine Arts Society, headed by V. Perumal Chetty’s progeny, have been rendering yeomen service. These are not brahmin preserves.

Krishna has been equally unfair to the South Indian diaspora in the Bay Area and elsewhere in the US. In short, Krishna may not have the time to look at the passion and the involvement of hundreds of NRIs in learning, appreciating and committing their time and efforts to Carnatic music. I cite a couple of instances: the work of Kanniks Kannikeswaran to bring together disparate individuals, across different urban hubs in the US, blending Carnatic music with Western notes and instruments and rich music history and literature deserves mention. A decade ago, I had an occasion to attend his performance at Allen Town in Pennsylvania. Over several months, he worked with nearly a hundred men and women to teach and train them for the event. These dedicated singers and instrumentalists travelled over hundreds of miles from different parts in and around New Jersey, spent out of their pockets and presented a great concert. Kanniks has since extended this to several cities across the US.

More recently, under the tutelage of a dedicated teacher from Andhra, dozens of women, men and children rendered soulful music at the Bridgewater Temple. Young professionals – specialist doctors, a senior journalist working for the Wall Street Journal, bankers, communication specialists, engineers and computer scientists met regularly to learn and practise for the event for weeks, driving long distances after a long day’s work.

In another instance, I met Sravya, a 13-year gifted singer and daughter of top-ranking globally-renowned scientist, Anand Tanikella, who headed the Saint Gobain Research in India till recently. Sravya has been practising Carnatic music vigorously in Boston and recently was adjudged the best singer at the Cleveland annual music competition. Sravya also heads the choir in the state – Massachusetts.

The Indian diaspora in the U.S., whether from the South or North India, takes great pains to learn Carnatic krithis, with scripts often written in English, taking great care with diction and pronunciation. Should Krishna paint all these dedicated singers with the same harsh brush that he uses to critique non-inclusion in Chennai?

– (Courtesy: Industrial Economist.)

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