The Madras Music Academy’s decision to award the Sangita Kalanidhi for the year 2024 to senior musician TM Krishna has sparked controversy across the musical community. Consequently, musicians Ranjini-Gayatri, Dushyanth Sridhar, Vishaka Hari, Arjun Kumar, and Trichur brothers have chosen to withdraw from the upcoming 2024 annual conference. Chitravina Ravikiran returned his Sangita Kalanidhi award (2017), becoming the first artist to do so in the history of the academy, followed by the family of Mridangam maestro Palghat Mani Iyer returning the award.
TM Krishna has made baseless claims about caste-based discrimination in Carnatic music, highlighting Brahmin dominance and limited opportunities for others. His remarks on Saint Thyagaraja and MS Subbulakshmi have stirred controversy, drawing criticism from music enthusiasts and fellow performers.
The Academy Awards
The Kalanidhi Awards, regarded as the highest honour in Carnatic music, were instituted in 1942 ((but retrospectively given from 1929). The academy building was founded with funds raised from benefit concerts by MS Subbulakshmi. Her deep connection to the academy is evident from her grandson V Shrinivasan’s recollection of her saying that every brick in the academy will utter her name.
Vidwan Palghat Ramprasad, a prodigious musician and economist by background, and grandson of the mridangam maestro late Vidwan Palghat Mani Iyer, recalls his academy’s presidential address, where he urged others to emulate the academy’s standards.
The family collectively felt uncomfortable holding an award on two counts, upon which the academy has been unable to defend its position. The academy states that the designate upholds the tradition, while the designate, TM Krishna himself, has been vocal about his pursuit of breaking it in all possible ways. The family questioned whether the institution ignored the slanders on past Sangita Kalanidhi awardees by the designate. Consequently, they decided to return the award conferred in 1967.
Unity with diversity
Chitravina maestro Vidwan Sri Ravikiran, a child prodigy in music, later a recipient of the prestigious Sangita Kalanidhi award, dismisses allegations of discrimination as misinformed, emphasising that they selectively present facts to support a particular narrative. He asserts, “The stark reality is that Carnatic music fosters greater harmony, unity, and goodwill than many other aspects of society.” Ravikiran has actively contributed to social cohesion through initiatives such as rural music education and Melharmony programmes in Tamil Nadu, initiated since 1992. There are many other musicians like Dr. L Subramaniam, Sikkil Gurucharan, Anil Srinivasan, and others, organisations like SPIC MACAY who have been working towards social harmony through music.
Carnatic music is a testament to the rich contributions of individuals from diverse backgrounds, castes, and communities. Notable figures such as Veena Dhanammal, T Brinda, TN Rajaratnam Pillai, Dwaram Venkata Swamy Naidu, MK Thiagaraja Bhagavatar, Palani Subramanya Pillai, Karakurichi Arunachalam, Madurai Somu, Kanchipuram Naina Pillai, Manmoondiah Pillai (founder of Pudukottoi school of percussion), Dakshinamurthy Pillai, Padmashri awardee Annavarapu Ramaswamy, Mandolin U Shrinivas, KJ Yesudas, T Chowdaiah, and many others have made indelible impacts on the musical landscape, each representing varied castes and backgrounds. Musical legend Balamuralikrishna’s guru, Parupalli Ramakrishnayya Panthulu, taught all communities.
Similarly, recipients of the prestigious Kalanidhi Award have mirrored this diversity over the years.
In response to allegations of Brahmin dominance in music, Sri Ravikiran, argues against such claims, questioning why one community would exclude others in an era where artists depend on a supportive ecosystem, further asserting that even if such exclusion occurred, it would be unsustainable as no single community can maintain dominance indefinitely.
Debunking such conspiracy theories, he asks if the same allegations were to be held with other art forms like African music, bhangra, or Yakshagana, would that hold water?
Similarly, Vidwan Prashanth Iyengar, a Veena player from the Thyagaraja lineage, asserts that Carnatic music is inherently talent-based, transcending any caste-based biases, and has the power to inspire and uplift individuals from all backgrounds.
Music belongs to the qualified
Vidwan MA Krishnaswamy, a violinist from the esteemed lineage of MS Gopalakrishnan, believes that music attracts those driven by passion, and willing to endure challenges. He finds it objectionable to question the lesser representation from other communities, advocating respect for each community’s professional evolution.
Vidushi Dr Ranjani Vasuki, a vocalist who upholds her family’s musical legacy and holds a doctorate in musical studies, offers insights into the potential reasons for the comparatively lower involvement of other communities in Carnatic music. She says such profiling itself is an intellectually lazy approach and is the product of the stale Marxist approach of looking at everything in the world as a class conflict. She suggests that all forms of classical arts – whether music, dance, painting, or sculpture – are a pursuit of excellence requiring elevated levels of commitment and creativity and these traits are not the property of any one community. It can be found in anyone irrespective of caste and creed. However, if a focused group of people owns up an art form and continuously supports it over many generations, there is a higher probability of that group producing more performers and achieving high excellence. It is similar in other occupations as well. This is how Marwaris have been maintaining excellence for centuries in business. Also, if something must be pursued by everyone, it must be materially rewarding. It is a bit like the IT industry today, where people from all communities are pouring in. So, if all communities did not rush into Carnatic music, it was not materially rewarding. It is the case even today that film music and its practitioners are more popular than classical musicians. No classical artist has achieved the fame that Ilayaraja or AR Rahman has – both non-Brahmins. Hence, there is no point in blaming the Brahmin community for the scarcity of accomplished musicians from other communities.
Reverence to the lineage is paramount
Purandara Dasa hailed as the patriarch of Carnatic music, profoundly enriched the musical landscape through his compositions and innovations. Dr. Raghuram, a violinist, highlights the spiritual depth and enduring messages found in Dasa Sahitya compositions, irrespective of the caste backgrounds of their creators. He strongly condemns TM Krishna’s criticism of Saint Thyagaraja’s compositions as repugnant.
TM Krishna’s criticism of certain compositions by Saint Thyagaraja, alleging caste and gender discrimination, has sparked debate. The profound essence of Carnatic music is embodied in the works of revered composers like Thyagaraja, who intricately blend elements of devotion and spiritual introspection into their compositions. Every sangathi sung, forming the foundation of a raga, traces back to the great trinity of Carnatic music: Thyagaraja, Muttuswami Dikshitar, and Shyama Shastri. Dr. Raghuram questions the unfortunate thoughts of TM Krishna’s stance on pseudo-secularism and his disregard for the lineage of these brilliant great composers.
Vidwan Dr. Srikantham Nagendra Shastry, a veteran vocalist, reveres Saint Thyagaraja, whose composition “Yendaro Mahanubhavulu” pays homage to great souls across ages. He laments the denigration of Thyagaraja’s compositions and attempts to disrupt centuries-old musical conventions, foreseeing long-lasting damage to the musical tradition.
“Honouring TM Krishna risks promoting a narrative conflicting with the inclusive and egalitarian principles of our musical heritage” feels Vidwan Prashanth Iyengar.
Selective bias
Ravikiran emphasises the importance of examining a diverse array of compositions rather than selectively choosing verses to fit a particular narrative. He portrays Thyagaraja as a courageous reformer unafraid to critique unacceptable practices within any community. Specifically, Ravikiran highlights Thyagaraja’s condemnation of Brahmin ritualism in compositions such as “Yagnadulu,” “Manasu nilpa,” and “Teliya leru Rama.” Additionally, Thyagaraja addresses hypocrisy in songs like “Kanugonu sowkhyamu” and advocates for a scientific approach to prayers, warning against blindly adhering to established templates in “Telisi rama chintana.”
Similarly, Ranjani draws parallels with Purandara Dasa, whose composition “EllAnu ballenembuviralla ava guna bidalilla” criticises blind adherence to rituals without inner transformation, addressing all segments of society.
Ravikiran affirms that Thyagaraja’s messages transcend community boundaries and echo through generations.
Fringe views
TM Krishna’s controversial comments on MS Subbulakshmi, alleging she gained societal approval by distancing herself from her Devadasi lineage and adopting a Brahmin cultural persona. Quoting an unnamed source, he referred to her as the greatest hoax of the twentieth century. MS Subbulakshmi’s grandson, V Shrinivasan, criticises Krishna for making near blasphemous remarks, questioning why he associates with fringe views that are far from the truth and not representative of the mainstream.
Ravikiran, drawing from personal observation, celebrates the Devadasi community’s contributions, including Subbulakshmi’s, emphasising that she never had to be defensive about her background. This community also produced luminaries like T Brinda (Ravikiran’s Guru) and T Balasaraswati, revered across all communities, including Brahmin musicians.
Need for reformation!
Renowned violinist Vidushi Dr. Jyotsna Srikanth, bestowed with an MBE by the British government, observes prevailing gender and regional biases within the academy. She highlights the lack of support for instrumentalists compared to vocalists, urging the academy to earnestly address wider representation from other states.
Music, a divine healer, transcends boundaries. The ongoing controversies triggered by TM Krishna are regrettable attempts to sow discord and division. It is condemnable to disseminate misinformation, a cultural offence that sows seeds of division, animosity, and distrust. For music enthusiasts and performers alike, it is imperative to swiftly mend these rifts.
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