Young voices put Carnatic music back on track 1 Forgive me, but it is raining music in the South these days, inspiring me, almost forcing me, to write about it. Yesterday, I attended a wonderful Carnatic music concert by Vijay Siva, whose strict adherence to classicism was soul-elevating. He had two tanpuras manned by live people behind him— none of the electronic tanpuras that are in vogue these days. Tomorrow, I plan to attend a concert by the Priya sisters. What is unusual about all this is not the fact that these musicians are good; it is that they are all so young; most of them are 40 and below.
Happily, Carnatic music is undergoing a resurgence in South India. It wasn’t always this way. When I was a teenager in Chennai, Carnatic music was in danger of dying out. The older stalwarts such as M.L.V., M.S. and Balamurali were still singing, but there were no younger artistes to take their place. How things can change in a span of 20 years! Now, a growing number of enthusiastic and accomplished singers and instrumentalists are giving Carnatic music life while preserving its tradition. More important, it has found an eager and appreciative audience; one that is willing to cross oceans to partake of it— witness the NRI presence at Chennai’s December music season. * <https://www.comparecredit.com/credit-cards/tips/citi-simplicity-v3/?utm_source=taboola&utm_campaign=22023473&utm_content=2+Cards+Charging+0%25+Interest+Until+2024&utm_medium=native&image=http%3A%2F%2Fcdn.taboola.com%2Flibtrc%2Fstatic%2Fthumbnails%2F0b6142b2f1eb229394c87f160d9e2c34.jpg&network=Desktop&ad_extension_id=3585483678&placement=livemint.com&product=credit_cards&clickid=GiD-hDV8aGs4ZxmpUZ3_rPqfssocTD5zfO4_EnXzbCEnViDV3FEopqDO3dPH1aMF&utm_term=22023473|hindustantimes-livemint|3585483678&tblci=GiD-hDV8aGs4ZxmpUZ3_rPqfssocTD5zfO4_EnXzbCEnViDV3FEopqDO3dPH1aMF#tblciGiD-hDV8aGs4ZxmpUZ3_rPqfssocTD5zfO4_EnXzbCEnViDV3FEopqDO3dPH1aMF>* 2 No art can survive on the merit of the artistes alone. Art requires patronage, sponsorship and a discerning audience. Carnatic music is enjoying this rare confluence of factors. The musicians themselves are very good and there are enough of them to go around. Many are young and offer the potential for improvement for an audience willing to bet on them. Best of all, the four South Indian states have spawned an explosion of sabhas, concert halls and samajs that are willing to nurture and support a multitude of musicians. Bangalore has the Gayana Samaj, the Ram Seva Mandali, the Indiranagar Sangeet Sabha and others. Chennai has too many to count. Kerala and Andhra Pradesh sponsor cutcheris year-round. The four southern states each share a special bond with Carnatic music. Andhra Pradesh, arguably, is the mother lode and Saint Thyagaraja, its missionary son. The sweet Telugu language seems particularly suited to Thyagaraja’s songs, which mixed the familiarity of a lover with the impassioned pleas of a devotee. His kriti in the vibrant raga Atana, for instance, is typical of the questions that pepper his songs: Ela nee dayaradu? In modern terms, Thyagaraja draws a vivid portrait of how great the Lord is, and then provides the kicker: If you are so great, why is your grace eluding me? Ela nee dayaradu? 3 Dikshitar and Shyama Shastri, the other two in the divine trinity, sang mostly in Sanskrit. Kerala musicians render these with practised ease, given Malayalam’s affinity to Sanskrit diction. Kerala had its own princely composer—King Swati Thirunal. 4 The remaining two are no lightweights. Tamil Nadu has now become home to some of the best Carnatic musicians and the prestigious December season. Karnataka, where I live, is unique because it straddles Carnatic and Hindustani music, encouraging both in a way that is typical of this large-hearted state. Gangubhai Hangal is feted with as much veneration as Balamurali Krishna. After most concerts, I hang around outside and listen to the cognoscenti talk. I love listening to truly knowledgeable rasikas expound on the delights and merits of a particular raga, a kriti or even a sangati (a passage). 5 I haven’t been to IIT, but that’s how I feel about Carnatic music “daads" who can connect the dots between raga Yaman Kalyani and kaapi in a way that I can only dream about. Similar to thermodynamic equations, Carnatic music, too, has its own jargon, which takes a while to understand. But once you get the hang of it, it is like being admitted into an exclusive club. You can watch the “daads" debate the merits of a particular niraval and nod as if you know what they are talking about. Or, you can wander incognito into Internet newsgroups such as “Rec.music. Indian- classical.com” and listen to expositions on music. 6 The above is the view of self-exposure in 2023 online watching the sabha kutcheri through the net on subscriptions. Sales of CDs of yesteryears were quite good, mainly bought by the young and middle aged. Also the knowledge of Carnatic music can be known from the DVDs being released as ALBUMS by young ones with the drums and saxophones, delivering in Carnatic words and tunes. T M Krishna and Sowmya are running the portals confidently which shows the sustenance. As VEDIC WAY OF LIFE will not be obliterated but survive with the changes on time, so too , the Carnatic music shall survive and sabhas will be there. May be as Temples in Western nations refurbish, may be the sabhas rise up here and Americans may continue to sing carnatic deviating from RAP. Madurai Mani style and GNB may not be heard; but youth will cherish the values with the drums. After all the percussion is only rendering the thalas and vocalists the brugas. KR IRS 3123 On Fri, 3 Feb 2023 at 06:42, Rama <[email protected]> wrote: > > > > From: Rama <[email protected]> > Date: February 3, 2023 > > > Menu > > <https://anandkumarrs.com/2023/01/08/carnatic-musics-ageing-conundrum/#content> > anandkumarrs <https://anandkumarrs.com/>*An Interesting post 0n present > Carnatic music trend .....Courtesy Anandkumar Trichy * > <https://anandkumarrs.com/> > Carnatic Music’s “Ageing” Conundrum! > <https://anandkumarrs.com/2023/01/08/carnatic-musics-ageing-conundrum/> > > The ‘*Season’* has almost drawn to a close in Chennai. Of course, the > *‘Season’* here implies the Carnatic music season, also called the > December music season or the *Margazhi* festival. When the *Season *comes > to an end in Chennai, offshoots of the same prop up in other cities like > Mumbai, Bangalore, Hyderabad, etc… In fact, as I write this, *Margazhi > Mahotsavam* – a mini-Carnatic event is going on in Mumbai, where I live > presently. > > The last time I attended the *Season* in Chennai was in 2019. The 2020 > *Season* got marred by Covid. The *Season* made a comeback in 2021 and > one could almost enjoy the season “online” except for the canteen. So, this > year’s festival (2022) is a return to the *Season* we all know in its > full pomp and glory – Full-fledged *Kutcheries* in *sabhas* and > auditoriums where we can see the artists in flesh, listen to the music in > real and of course savour the delicacies in the canteens in person. > > I don’t know how the *Season* went off in Chennai this year. From > whatever little I gathered from the media, it seems that the response from > the *rasikas* was quite overwhelming and the *Season* has been a roaring > success. Yet, I feel that Carnatic music is in the throes of an “Ageing” > conundrum which is what I want to talk about in this post. > > Are today’s youth attending Carnatic music concerts? I don’t have a > conclusive view on this yet but, my question arises from the signals I get > while attending concerts. In Mumbai, in the last few years whenever I have > attended Carnatic concerts, the audience comprises freshly minted senior > citizens mainly, some super senior citizens, a relatively smaller bunch of > those in their 50’s, and then kids in their teens who are probably still > learning Carnatic music (before the 10th/12th bugs hit them). One can > hardly find people on the right side of youth (the 20s/30s) or the wrong > side of youth (the 40s). Even if they are, they will be few and far in > between. But you can find these groups in cinema halls, in live music shows > and stand-up comedy gigs. > > Now, I am not sure if the scene is any different in other cities. When I > used to attend the *Season* in Chennai, the situation was quite similar. > Having said that, it is not my case that Carnatic music has no appeal among > today’s youth and hence it has no future. In fact, it is the contrary > mainly for two reasons. > > One, in the last two decades, there has been a huge influx of exciting > talent in Carnatic music which is a very encouraging sign. This has > completely demolished the arguments of the 80s that Carnatic music faced an > existential crisis. Today, Sanjay Subrahmanyan who is only in his mid-50s > is looked upon like a veteran *a la* Dhoni in CSK. That Sanjay keeps > evolving himself to be in tune with the *rasikas* of today and tomorrow > with his engagement style is another matter. The *Sabha* schedule is > packed with concerts by those who are in their prime youth. So, it is not > that the youth are not taking to Carnatic music. > > Two, as I mentioned before, the younger generation of today is taking up > learning Carnatic music in a more enthusiastic way than it was in my > generation. So, it is not “uncool” anymore to learn Carnatic music. > Particularly the NRIs have been trailblazers in this regard with a lot of > fresh talent in Carnatic music coming up from among the NRI youth. > > It’s clear, therefore, that while Carnatic music is not an anathema for > the youth, I find them reluctant to spend time attending typical Carnatic > concerts. Therefore, the questions are – what are the reasons for this > phenomenon and what can be done to correct the situation? > > One of the main reasons I have heard is that Carnatic as a style is too > slow and so not so cool to follow. And it is also difficult to appreciate > the nuances of the music unless one has some basic knowledge. I agree that > there is a need to de-mystify Carnatic music among the masses. Here I find > attempts of some of the mainstream Carnatic musicians like Sanjay > Subrahmanyan, Sikkil Gurucharan, and Vijay Siva to constantly explain the > influences of Carnatic music on film songs in a simple, lucid manner > through their YouTube channel, very laudable. This creates interest even > among those who don’t know Carnatic music. The availability of social media > platforms has also helped them to reach their content widely. Another > person who has been putting conscious efforts to de-mystify Carnatic music > is Subhasree Thanikachalam. She and her team have been doing these themed > concerts where they present a typical Carnatic Kutcheri format but with > popular film songs with simple explanations. > > Then there is the *“Agam Model”*. *Agam* is a rock band that came into > the scene ten years ago and soon earned the epithet of “Carnatic > Progressive Rock”. Today, I find that this band is extremely popular among > the youth. In their concerts, Carnatic is nicely blended with metal to give > a very high energy and frenzied experience which the youth of today seem to > lap up. On stage *Agam’s* lead singer, Harish Sivaramakrishnan is like > the pied piper of yore making the audience sing along to his tunes which > are even Carnatic based. I was surprised to see youngsters finishing the > lines of popular *kritis *like *Ranga Pura Vihara* ( A Muthuswamy > Dikshitar *Kriti* immortalised in our souls by M.S.Subbulakshmi) and > *Manavyalakinchara* (A Tyagaraja Kriti in the mellifluous raga – *Nalina > Kanti*) (Check out the clip here > <https://www.youtube.com/watch?v=bvcSfHn4Fek>) which are of course the > band’s most sought-after numbers. Their rendition of these kritis has > garnered huge hits on YouTube as well. I am told that *Agam* has a cult > following among senior citizens as well. So, is creating a Carnatic-based > genre where Carnatic vocal is fused with Western music riffs on guitar and > western percussion an answer to the conundrum? > > I am certain that there is no one answer. With the advent of technology > and with Senior citizens increasingly relishing watching concerts online > from the comfort of their homes, soon Carnatic music may be facing the same > “Theatres VS OTT” conundrum as the film industry. It is therefore high time > that the practitioners of the Carnatic genre gave some thought and find > ways and means to get the youth to the *Kutcheri* halls and solve this > “ageing” problem. In Tamil, one is called a *Karnatakam* type, if he is > old-fashioned. Carnatic music should not slip into that definition if it is > not already. > > *Cartoon courtesy – Keshav from The HIndu* > > > > > > 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